www.makerbot.com/3d-printers/replicator-mini/

We launched this 3D-printed rocket at NASA Ames on Saturday with the LUNAR group. She flew straight as an arrow on an Aerotech E15 motor.

 

This was the first flight. I wanted to make sure the more powerful AP motors would not overheat the Makerbot PLA material around the motor. I was also curious about the strength of the materials.

 

The going up part was perfect, but it pretty much shattered on the return. Build notes and post-mortem below.

 

Looking forward, I am excited about the integrated fin can possibilities for clusters. It removes a ton of labor for fin alignment and motor tube integration. With rod guide, motor tubes, shock cord attach point, and fins printed in one step, about 90% of the rocket build effort would shift to a single print. I estimate that this fin can cost $1.82 in material and energy, so the idea of a single-use fin can assembly might not be so crazy. It would just have to be strong enough for the up part, and with perfect fin alignment, there may be little fin flutter at subsonic speeds (I’ll try to fly a strap-on camera next time to watch the fins).

 

3D printing is also good for decorative items. For example, I plan to print a bulbous nosecone fairing to make a kit-bash of three SpaceX Falcon9’s look like a Falcon Heavy.

 

But the strength to weight ratio makes the least sense for body tubes.

 

Does anyone have experience lathering the exterior of Replicator 2 prints with epoxy to strengthen?

"Light Smoke" so to speak. ;-)

 

I like this picture because you never know what you're going to end up with when you wave those LED pens around. The smoke effect is awesome and I haven't really managed to replicate it yet.

For this model I have sought to replicate the Lego Creator Classic Pickup as is - rather than morph it into a particular vehicle brand. For the basis of the pickup, I used my early 1950s Ford F1 model as a basis.

 

The Ford F1 was the first in a long line of best-sellers in the segment for Ford Motor Company, having replaced the pre-War truck models with a much more sophisticated and comfortable vehicle.

 

When I first designed the Base Ford F1 vehicle, more than a decade ago, I was broadly unfamiliar with the vehicle proportions (you don't see many driving around these days). For this significant update of the model, I have included a much taller cabin and windshield, along with more sculpting of the front fenders and hood. The Lego model also featured squarer rear fenders as well.

 

This scale does not permit the usage of the (rather clever) lift in/out wooden tray extenders, bu t I have sought to achieve a similar (but slimmer) effect with 3mm circular rods and some of the new end connectors.

 

I am also quite pleased with the outcome of the design of the front grille at the smaller scale, particularly as the official set executes this (generic) part of the truck very effectively.

Replicating the look & feel of an old Vanity Fair ad, back when they knew how to make legendary lingerie for women.

Becoming somewhat obsessed with my designing and 3D printing, always looking for objects around the house to replicate!

© All rights reserved. This image is copyrighted to Tim Wood; Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me at woodrot147@aol.com for express permission to use any of my photographs.

 

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For Our Daily Challenge Monday 12th September 2011 ~ Attempt to replicate something that has been on ODC Explore.

 

This is my attempt to replicate gary's images photo posted February 1, 2011 which was Explored. I want everyone to know that somebody owes me for a good pair of reading glasses. I had to bend and twist these to try to replicate gary's shot. He must have a crooked head.

   

“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”

“The Eye Moment photos by Nolan H. Rhodes”

nrhodesphotos@yahoo.com

www.flickr.com/photos/the_eye_of_the_moment

 

Singh-Ray I-Ray IR filter on a 5DMKII...canvas texture to replicate a painting

 

my first attempt at color IR

  

All of my images are under protection of all applicable copyright laws. Unauthorized use and/or duplication of this material without express and written permission from myself is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to dK.i Photography and Edward Kreis with appropriate and specific direction to the original content (website). I can be contacted through the contact link provided on this website.

 

In the meantime, please visit my page @ edward-kreis.artistwebsites.com

 

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In replicating this fifth-gen stealth fighter, I was aiming for:

– Smooth: nearly studless in form.

– Integrated: packing in a host of features.

– Fresh: incorporating new pieces and techniques.

and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)

 

The 1:40 scale replica includes:

– Opening cockpit that holds pilot, control panel, and joystick

– Hidden weapon bays in fuselage for stealth missions

– Optional exterior loadout for air-to-ground attacks

– Retracting landing gear that supports the model

– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL

– Stable Technic display stand and brick-built name plaque.

 

This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]

 

A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!

 

Let me know what you guys think!

The town of St Ives trying very hard to replicate the skyline of Auckland's Rangitoto Island,

Replicated in the early 90s by Durham Constabularly to the exact spec of their patrol cars in the 70s.

 

The vehicle details for EHN 91J are:

Date of Liability 01 06 2014

Date of First Registration 18 08 1970

Year of Manufacture 1970

Cylinder Capacity (cc) 1798cc

CO₂ Emissions Not Available

Fuel Type PETROL

Export Marker N

Vehicle Status Licence Due to Expire

Vehicle Colour BLACK

 

Pride of Longbridge 2014.

Please add COMMENTS and FAVES. I hope to replicate as soon as possible!!! :)

All done. So I'm not trying to replicate the furnishing of the original TV set, I'll leave that to the buyer, but wanted to test it out.............Overall I'm super pleased with how it came out, my handrail is a little bumpy here and there, but I wasn't making any significant improvements after redoing it 4 times so this is the end result. I consider it a good sign when I want to keep a commission for myself as I am my harshest critic.

Deck 10: Transfer aisles, cargo transporter, industrial replicators, fabrication floor, bathrooms.

HFF!

Stargate fans will understand.

 

I noticed the DVD in a local charity shop today, and had to have a go at replicating the cover. For WAH, doing Your Movie Poster.

Chassis n° 1313

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Estimated : € 20.000 - 30.000

Sold for € 63.250

 

Parijs - Paris

Frankrijk - France

February 2018

 

- Usable example of this renowned marque

- Originally delivered to Australia

- Older restoration

- Known history from new

 

This FN 1600 Model has a history that can be charted from its earliest days as on file is a copy of the original delivery book records for the Herstal based factory. According to that information it left the works on 22nd February 1912 and was supplied to their agent Meredith in London. From London it traversed the globe being shipped to Binalong in New South Wales, Australia, where it would arrive with its first owner Edwin S. Davidson. There it was registered for the road with the NSW number 8079 according to their records. Some 350 km from the port of Sydney and close to the railway, it is likely that the car would have travelled first by rail to its new owner.

 

As researched by former owner Barry Roberts of Canberra, Davidson was a bookkeeper on a farm, which he would later name Cunningham Plains, and it was there that the FN would reside for the next 3 decades, before being replaced by a Buick in 1940. Interestingly the Davidson family also owned another 2400 Model FN at one point also.

 

In around 1969, the FN was brought to Canberra, and came into the ownership of Alan Higgisson, a Veteran Car Club of Australia member. By this time the car required a restoration, which he carried out to an exacting degree, and in doing so seemingly replicated the rear section of the bodywork which appears newer that the scuttle area. Post rebuild, Mr. Higgisson kept the car through to 1980 when it passed to the aforementioned Mr. Roberts. In 2003 it changed hands again, later arriving in Mr. Vander Stappen's collection.

 

A natural fit within this group of Belgian cars, FN's are much coveted for their usability as touring cars, noted historian the late Malcolm Jeal being among prominent exponents of them and using his own model 1250 'Fenella' for many years. In view of its limited use in recent years we would advise that it be recommissioned prior to extended road use, however when completed, appointed as it is with full set of lamps, windscreen, top and dickey/boot storage area it would certainly lend itself well to events.

Shelby Daytona - Birmingham, MI

Phew.

 

By request, here’s a quick guide to replicating this on Unix. The one nonstandard tool you’ll need is GDAL, which most package managers know about. You’ll also want something that works with images; imagemagick is fine. Also, we’ll be doing a lot of bulk i/o, so if one of your drives is faster, do this project on it and save several minutes of looking at progress meters. Watch out for Flickr mangling my sh, and tweet at me if you spot bugs.

 

Part 1: The elevation data

 

We’ll use CGIAR’s 5°×5° dataset, which is overkill, but that’s how we do. You can use their handy Google Earth layer to find the data cells we need, which turn out to be column 12, rows 2–4 inclusive; 13, rows 2–4; 14, rows 2–4; and 15, row 4. Copying one of the GeoTIFF download links from the KML’s popup, we find we can get them like this:

 

$ curl -O 'http://srtm.geog.kcl.ac.uk/portal/srtm41/srtm_data_geotiff/srtm_{12_02,12_03,12_04,13_02,13_03,13_04,14_02,14_03,14_04,15_04}.zip'

 

If you’re willing to give up your data’s chain of custody, you can do a web search for one of the file names and find other sources, some of them faster than KCL.

 

Unzip the data. You can remove the *.txt, *.hdr, and *.tfw files, so we’re left with 10 GeoTIFFs and nothing else. We merge them into a single GeoTIFF:

 

$ gdal_merge.py srtm*.tif -o main.tiff

 

Mine is 843892 kB and has a $(shasum) of 0a3b92fb5ccd60951df6c459aadd167bc397d425.

 

Part 2: The cutline

 

If you find a better way of doing this step, leave a comment, because it’s ridiculous. The version presented here is several hours faster than what I originally did, but no less kludgy.

 

We want the data in MVBCRB. Unfortunately, it’s not an outline (a single ordered sequence of points), it’s a series of several dozen outline segments. Geometrically, it’s a handful of curves in no particular order that happen to share endpoints. But sharing endpoints means we can join them into a single polygon if we’re willing to suffer a little.

 

Grab the KML version of this that André Coleman put up. It’s relatively cleaned up and saves us some preparation steps:

 

$ curl -O webpages.charter.net/zeeland/crws.kml

 

If you look in there (watch out, it’s almost a megabyte), you’ll see that the overall polygon is defined as a bunch of LineString elements, and that the coordinates of these elements happen to be the only lines that start with “-”. So we can extract them like this:

 

$ grep '^-' crws.kml > linestrings

 

Super gross but super effective. Now the linestrings file has 65 lines containing point series in the format “lat,lon,ele ”*. Take this and run it like this:

 

$ python linesplice.py linestrings > cutline.kml

 

This will join the 65 individual lines into a single line based on shared endpoints. It’s purpose-built around the perfect overlaps of this dataset, so if you use it on anything else, do some fuzzy matching or risk an infinite loop.

 

Part 3: Rendering

 

We’ll use gdalwarp to do three important things at once: (1) reproject the data to Oregon Lambert (EPSG 2993), a fairly conservative choice; (2) make the file smaller, because right now it’s 24000×18000 and that’s ridiculous, and (3) mask out everything outside the Columbia River Basin. (I won’t describe all the minor flags I pass the gdal tools; look them up if curious.)

 

$ gdalwarp -r cubicspline -multi -t_srs EPSG:2993 -ts 8000 0 -cutline cutline.kml main.tiff proj.tiff

 

We’re on the home stretch. Now let’s do a hillshade image (sun azumith of 200°, vertical exaggeration of 3×):

 

$ gdaldem hillshade -compute_edges -az 200 -z 3 proj.tiff shade.tiff

 

This is the first thing we’ve made that’s actually intelligible to look at, so pull it up. It should look correct but bland.

 

Now some hypsometric tints – Leonardo da Vinci’s most important invention. Make a text file called, say, height.txt and put something like this in it:

 

3000 255 255 255

1500 10 80 20

500 150 150 100

1 20 100 80

0 0 0 0

  

The first column is an elevation (in meters) and the next three are the R, G, and B of the color you want that elevation to be. It interpolates smoothly for you. I picked this palette to suggest general land use: floodplain-type stuff down low, then amber waves of grain, woods in the hills, and rock and snow up high. Tinkering with these colors is a lot of fun. Now we make a hypsometry layer:

 

$ gdaldem color-relief proj.tiff height.txt color.tiff

 

Now merge the files. You can do fancy stuff with overlay compositing, but a simple average looks pretty good:

 

$ convert -average shade.tiff color.tiff merged.tiff

 

Convert will kvetch about TIFF tags it doesn’t recognize, which is fine; we no longer need the georeference data. You might also want to crop the image a bit, since it still reaches the bounding box of all the topo data we downloaded:

 

$ convert -trim merged.tiff trimmed.tiff

 

You now have something that differs only in incidental ways like color choice from the above image.

 

The main things I would do to improve this workflow are (1) find or make a better cutline, (2) handle null data better (look at the mouth of the Columbia – ugh), and (3) cut after hillshading, so the edge of the watershed doesn’t get shading.

 

If you have improvements – those or others – please comment.

Replicating one of the coolest scenes from Star Wars: The Last Jedi. Let me know what you think!

After around 13 years, I have finally been able to build this car fully in all original colours. This was thanks to some non production colour Purple elements that ended up on Bricklink, and one from a very kind member on here.

 

There are two non production colour elements used on Sid's car, and both would be spotted immediately as being off since they are very prominent pieces to the design. The 1 x 6 plate used on the very front and the 1 x 6 tile used as a spoiler, never came in sets, while the rest of the Purple elements did.

 

The two elements originated from a large selection of Purple non production colour elements that made their way onto Bricklink, where I bought the 1 x 6 tile, but missed out on the 1 x 6 plate. However, thanks to the generosity of the individual who bought the three the seller had, he sold me one, allowing me to replicate this car almost identical to the one seen in the intro FMV. The only differences being I went with the printed tiles LEGO used on the original prototype, rather than the same tile used twice as in the intro. While the roof was not on the car in the intro, it was on the prototype and on the car in game, but this is easily removed for the intro version.

 

Sid's car was definitely one of the most tricky to get right due to the fact his car is mostly Black. The original intro I had to work with, that was included with the game, was only 320 x 240 at 15fps, so was not the best quality and blended the colors quite badly, making it hard to pick out the elements used.

 

Luckily I managed to recently find a copy of Stunt Rally that was a DVD-ROM rather than a CD-ROM. The game itself was the same, but the disc included a behind the scenes look at the games development, and most importantly, a much higher quality version of the intro FMV.

 

This newly discovered intro FMV is full PAL DVD quality at 720 x 576 and plays at the original 25fps the sequence was rendered at.

 

However, this new intro was not without its faults. The picture is darker than the smaller version and the blacks have a green tint to them. Luckily, these errors were minor and didn't make it so I was unable to see the elements used on Sid's car. In fact, the new intro allowed me to correctly identify the method used for the wheel arches, which I first thought were two 1 x 3 inverted slopes. This turned out to be wrong as I was able to finally clearly see the 1 x 6 arch elements in the higher resolution FMV.

 

I honestly should have seen this earlier, as a simple search enabled me to find a few albums of photos posted by one of the game developers. In these photos, it clearly shows that the 1 x 6 arches were used on Sid's car, but only on the back. They later changed it to have all four sides with these arches, and this is the car we see in the intro FMV.

via Tumblr.

Handcrafted by lithic (stone) artifact replication specialist, Jay Valente, this stone knife exemplifies stone-age craftsmanship and utility. Like all of his lithic work, this is a premium high-grade museum quality replica and there was special attention given to historical accuracy and authenticity in its creation. Jay’s work has been featured for sale in the largest Native American museum in the world and both his lithic replicas and his lithic artifact consultation services have been touted by esteemed archaeologists and historical preservation offices alike.

Modeled after Native American stone blades and spear points of the paleo and time periods (about 12,000 to 9,000 years before present), this work utilizes a random flaking pattern and lancolate fluted “clovis” style.

 

From conception to completion, Jay traces the footsteps and actions of the ancient people. He selected a high quality stone of novaculite and brought it home to be cooked under a wood fire for several days. Unlike other stone knives or stone arrowheads you might find on eBay or Etsy, this is not a mass produced, machine cut or drilled product. It is entirely handcrafted. The raw stone was then flintknapped and pressure flaked with a deer antler and rock hammerstone using traditional primitive techniques and methods. The stone blade was then hafted onto an azalea branch. The novaculite blade is secured to the wooden handle with elk gut cordage and a pine pitch glue recipe.

This knife represents a rare feat of flintknapping skill. Using quality stone and primitive, traditional flintknapping methods he crafted this novaculite stone knife with historical considerations and authenticity of process in mind.

 

For the discerning collector or primitive technology enthusiast, look no further for a high-grade stone-age replica knife. This historical reproduction makes for a stunning educational or decorative display, however, it is sharp and sturdy enough to be used as well; perhaps as a stone skinning knife, or a stone survival bushcraft knife.

#crafts #paleoindian #arrowheads #knives #spears #ancientknowledge #chert #novaculite #flintknapping ift.tt/2f8E8Oq

Macro Mondays - March 2nd, Abstract in Macro

 

Macro view of patterned glass through a screendoor.

Notes sketched out for my DNA storage video.

This model car was number D38 in the Tomica Dandy range of die-cast toy cars. It was made in Japan to 1:43rd scale and issued in 1983. This model car represents the Nissan Skyline RS Turbo C which is a modified Silhouette Formula to Group C specifications. The main identifying feature is the full width rear spoiler. On the Nissan Skyline RS Turbo KDR30 Super Silhouette this rear wing isn’t full width. Both real cars feature on the cover on the 1983 Tomy catalogue. The Skyline Silhouette retains the "silhouette" and engine block of the production R30 Skyline as these were the only concessions in this formula and accounts for ultra wide fenders and equally massive wings! Thoughtfully, Tomica Dandy also made the ordinary production R30 Skyline in 1:43rd scale (there is a version available in red and black) and posing these both together provides a superb 3D visual of the width difference between these two cars.

 

As a toy car from the 1980’s the level of detail is extremely good and the front section includes cast details for grilles and NACA ducts. Overall Tomica Dandy’s were superior to the competition of the period, exhibited flawless paint finish and tampo printing. The latter utilised for certain aspects of the competition finish. This includes driver names, racing numbers, sponsors names which include TOMICA. Further decoration was available with an enclosed decal sheet. The whole of the front section is removable by lifting the component and then moving it forward. Once this has been removed the engine detail can be seen as can the radiator and lighting section. The former is in black plastic and the latter is represented as a plated plastic component. Both doors open giving access to a miniature racing interior. The main section is in grey plastic and includes dashboard details, gear shift lever and fire extinguisher. Further details include a red drivers seat and a black steering wheel both plastic items. Rubber tyres replicate racing slicks and the hubs in gold plastic provide a basic representation of the real life versions. The axles feature spring suspension. Rear lights are in clear red plastic and the headlights are plated parts. There is little detailing on the metal baseplate but as this replicates a competition car this is expected. However, there are cast details on the front section. Windows are in clear plastic and the windscreen features a rear view mirror.

 

Tomica Dandy overview

 

Following on from their success with small scale toy cars, Tomica decided to launch their Dandy range in 1972. Size wise Dandy were comparable with Corgi Toys and Dinky Toys, and as with these ranges the scale varied between releases. However, gradually the majority of models issued followed the Solido line and were in 1:43rd scale. All Dandy series model numbers were prefixed with a D to avoid confusion with Tomica’s miniature series. In 1984 the whole Dandy range was restructured and subsidiary ranges were introduced. Another restructure followed in 1988 and then in 1993 Tomica decided to discontinue their Dandy range. However, from this time Tomica have reissued certain Dandy models either under their own name or in liaison with model shops or distributors.

 

On a personal level I have always been impressed with the quality of Dandy models and where there are opening parts the fit is perfect and they close with a reassuring click. Even if a Dandy model is turned upside down these opening parts stay shut! This is certainly worth mentioning as this level of precision didn’t manifest in toy cars from most other manufacturers and the only one that is comparable in this area is Solido with their classic 100 series. The Dandy range extended the availability of quality toy cars into the early 1990‘s and provided collectors of toy cars with new releases during this period. Unfortunately, they were not officially released in certain markets and collectors had to rely on local model shops to gain access to this superb range of models.

 

Please do not use this image on websites, blogs or other media without my permission. Thanks.

 

Chris

 

Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 26, 2018. BLM video: Toshio Suzuki

 

A quiet oak savanna in southwest Oregon has a World War II story to tell.

It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.

Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.

The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.

At Camp White, in the heart of the Rogue River Valley, it got loud very quick.

Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.

And then the troops arrived.

The newly reinstated 91st Division went on 91-mile-long hikes.

They fired bazookas, mortars and tanks.

And they attacked concrete pillboxes built to replicate Nazi bunkers.

Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.

The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.

After decades of private cattle farming, Camp White’s pillboxes now rest on public land.

 

Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...

 

Take a virtual tour of the pillboxes via this 360-degree video: www.youtube.com/watch?v=XgHu5y-TtAw

“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”

“The Eye Moment photos by Nolan H. Rhodes”

nrhodesphotos@yahoo.com

www.flickr.com/photos/the_eye_of_the_moment

 

Replicating the scene out of the brilliant movie Love, Actually, in which a young Andrew Lincoln serenades an equally young Keira Knightley with giant cue cards. In this case I have used insults from a couple of Shakespeare's plays as the messages, although they are very unlikely to woo the fair hand of the damsel.

 

We're Here looks at I believe in holidays & other calendrical observances.

Not wishing to bore you all but many of you will already be aware that this year [the very end of May] we celebrate 40 years of married life.

 

Ten years after we married I was posted overseas to Gibraltar [just before the Falklands War broke out as it happens which is why I wasn't able to go down that way although prior to going to Gibraltar I had been drafted to HMS Antelope. You may recall that she was one of the ships that went down in the South Atlantic.....lucky for me but sadly not for some of them]. Anyway, the left hand image above was taken at the 1st mess dinner we attended and it was customary to have your photograph taken. We have both always liked this one and it does, of course, bring back some very happy memories for us. I figured that as a part of our Ruby Wedding celebrations it might be fun to try and replicate that photograph taken 30 years ago and here is the result of that on the right. Alas, we no longer have the clothes we wore back then [ except for the bow tie I'm wearing which is the same one!!] but we've had a pretty good stab at wearing something from our current wardrobes!!

 

How lucky we are to have such wonderful processing software available to us that allowed me to combine the new photograph with the background of the old one. We had great fun this evening getting dressed up and trying to get in the same pose that we did all those years ago and I've had great fun burning the midnight oil doing all the processing!!!! LOL I reckon I could have kept on working on it but there came a time when I had to say enough was enough.

 

Anyway I thought it might be nice to share the fruits of our labours with everyone and hope that you derive some pleasure from it as indeed we have.

 

Thanks in advance of any views, comments and/or faves, your time taken to do that is so very much appreciated. :>)

P/1074

 

440 bhp at 6,800 rpm, 289 cu in OHV V-8 engine, four 48 IDA Weber carburetors, ZF 5DS25/1 five-speed manual gearbox, independent front suspension with unequal-length A-arms and Koni adjustable shock absorbers, independent rear suspension with trailing arms, unequal-length A-arms, and Koni adjustable shock absorbers, and four-wheel stage II Girling ventilated disc brakes. Wheelbase: 95"

 

Please note that this vehicle will be sold on a Bill of Sale only.

 

• Debut win at Spa 1967 with Jacky Ickx and Dr. Dick Thompson

• Extraordinary racing history; ex-David Hobbs, Brian Redman, Mike Hailwood, and Paul Hawkins

• The first win for the famed Gulf/Wyer Partnership

• Only Gulf team car to win both as a Mirage (’67 Spa) and a GT40 (’68 Monza)

• First of three lightweight production GT40s; one of two surviving

• Early use of carbon fiber-reinforced bodywork

• Famous Gulf camera car used in the epic Steve McQueen film, Le Mans

• Distinguished provenance, including Sir Anthony Bamford, Harley Cluxton, and others

• Complete with original 1967 Mirage bodywork

• Countless books, models, awards, and event participations

 

In March 2013, it will be 50 years since Ford instituted the GT40 program. The purposeful mid-engine sports coupe is the finest Anglo-American supercar of the last century, with four straight victories at the Le Mans 24 Hour endurance race between 1966 and ’69. In 1966 alone, it finished 1-2-3 against Ferrari, in one of the most memorable photo finishes in the race’s distinguished history, cementing the car’s place in motorsports history and on the postered walls of teenaged bedrooms the world over.

 

Its genesis alone is the stuff of legends and the subject of countless books, summarized most succinctly as a failed buy-out of Ferrari by Henry Ford II.

 

Blank checks were signed in Detroit, engineering and racing heavyweights were hired, and Lolas were modified and readied for testing. GT/101, the first prototype, was assembled in March 1964, in time for testing and the imminent Ford-Ferrari battle at Le Mans in the summer. Undaunted by a lack of wins, Ford regrouped for 1965 with Carroll Shelby—already a veteran with his Cobras—taking over the GT40 MK II program.

 

He delivered a win at Daytona with Ken Miles and Lloyd Ruby in GT/103 and a Second Place at Sebring with Ken Miles and Bruce McLaren in the same car. Shelby also ran the first MK II at Le Mans in June of ’65. Meanwhile, John Wyer continued development of the customer 289 GT40 racing cars.

 

The stunning GT40 offered here, chassis P/1074, is very well-documented in GT40 history. It began life as Mirage M.10003, and in its debut at Spa, in May 1967, the legendary endurance racer Jacky Ickx and the “Flying Dentist,” Dr. Dick Thompson, finished First Overall. This was also the first win for any car under the fabled powder blue (1125) and marigold (1456) Gulf livery. Such an accomplishment on its own would be sufficient to impress any enthusiast, but it marks only the beginning of P/1074’s storied history. It should be noted that Ickx was only in his early-twenties at the time, had just made his first Grand Prix start the same year, and was on the cusp of beginning one of the great careers in motorsports that, to date, includes an extraordinary six wins at the 24 Hours of Le Mans, 25 podium finishes in Formula One, factory racing for Porsche, and everything in between, not to mention winning the Paris-Dakar Rally and even piloting the famous Ferrari 512S for the Steve McQueen film Le Mans.

 

Unfortunately, however, this particular car DNF’d later that year at Le Mans and Brands Hatch, and then won at Karlskoga and finished Second at Skarpnack, before finished with a convincing win at Montlhery. Quite the stunning debut for this exceptional racing car!

 

Following the FIA’s regulation change for the 1968 season, which reduced prototype engine size to three-liters and five-liters for production (Group 4) sports cars, with a limited build of 25 examples, Mirage M.10003 was taken back to J.W.A. in England for its conversion into a Group 4 GT40. The conversion was completed on February 23, 1968, whereupon it became GT40 P/1074, but has since remained complete with its original Mirage bodywork and could easily be returned to that configuration.

 

It was the first (by serial number) of three lightweight racing GT40’s built for the J.W.A./Gulf team. Its chassis retained the unique Mirage straight substructure forward of the windscreen. Specific to the car were Stage II ventilated disc brakes, a lightweight frame, and a lightened roof.

 

The body was described as “super lightweight with carbon filament aluminum, fully-vented spare wheel cover, extra wide rear wheel arches, double engine coolers, and rear panel vented (sic) for brake air exit.” The carbon fiber-reinforced bodywork used on the Mirage M1s, now P/1074, P/1075, and P/1076, are reputed to be among the first, if not the very first, uses of carbon fiber panels in race car fabrication.

 

Currently, P/1074 is fitted with an original, period correct GT40 Ford 289 cubic inch V-8 with Gurney-Weslake cylinder heads, four Weber twin-choke carburetors, and a 351 oil pump with an Aviaid oil pan. During its active career, P/1074 (M.10003) was powered by four other V-8 Ford push-rod engines, including a 289, a 302 (1074), a 305, and a 351 (M.10003). It was painted in powder blue Gulf livery, with a distinctive, constant-width, marigold (orange) center stripe, which instantly identified it as J.W.A’s number two car. On several occasions, it was raced with triangular nose-mounted canard fins to improve downforce. From the outset, 8.5-inch front and 11.0-inch rear BRM Mirage wheels were fitted.

 

Soon after conversion to a GT40, driven by endurance racing greats David Hobbs and Paul Hawkins, P/1074 raced at Daytona (February 3, 1968), where it was a DNF. This record would soon improve. On March 3, 1968, with the same drivers, it finished 28th at Sebring, then ran at the Le Mans Trials with Jacky Ickx, where it set a 3 minute 35.4-second lap record. Driven again by Hawkins and Hobbs, P/1074 won at the Monza 1000 Kilometre on April 25, 1968. On May 19, 1968, competing at the Nürburgring, David Hobbs and Brian Redman finished in Sixth Place. Hawkins and Hobbs teamed up in P/1074 at Watkins Glen to finish Second. This was the first race that P/1074 was fitted with the larger 302 cubic inch V-8 engine. It DNF’d at Le Mans (September 8, 1968), which was the last race of the season that year, again with Hawkins and Hobbs driving.

 

In October 1968, P/1074 was loaned to Ecurie Fracorchamps and to a Belgian racer, Jean (Beurlys) Blaton, as a replacement for his P/1079, which had been crashed at Le Mans earlier that year. Beurlys and DeFierlant ran the car at Montlhery on October 13th, achieving an Eighth Place finish. Early in 1969, J.W.A acquired P/1074 again, and in its only race that year, David Hobbs and Mike Hailwood finished Fifth at the BOAC 500 at Brands Hatch in April, still running the 302 V-8.

 

McQueen

 

This car’s life was about to change dramatically. In 1970, David Brown, of Tampa, Florida, purchased P/1074 and P/1076 from J.W.A. He in turn leased P/1074 to Steve McQueen’s Solar Productions, of North Hollywood, California, in May of that year. Under the care of J.W.A, it was to be used as a mobile camera car for McQueen’s epic production of the movie Le Mans. Steve McQueen had insisted that the cars be filmed at speed. This necessitated that the camera car be capable of very high performance and keeping up with the “star” cars.

 

For filming purposes, the entire roof section was removed, which left P/1074 with a windscreen that was just a few inches high. It is believed that this operation rendered the doors inoperable. Period photographs of the car show the doors securely taped shut. At the same time, the car’s fully-vented spare tire cover was removed and replaced with the less aerodynamically-efficient “twin nostril” unit from a road-going Mk III GT40.

 

The modified GT40 was tested at the Fighting Vehicle Research and Development Establishment (FVRDE) in Surrey England. The radical changes to P/1074 resulted in a race car with adversely impacted aerodynamics and, in the words of Jonathan Williams, “diabolical” handling. During a test, P/1074 ran over a section of tank tread, which punctured one of its racing tires, precipitating an off-road excursion that dented the belly pan in a few places. Its driver, John Horsman, author of Racing in the Rain, and the film’s director, who was accompanying him as a passenger, were unharmed.

 

P/1074 was employed as a camera car at the start of the 1970 Le Mans 24-Hour race, where its former driver, Jacky Ickx, was coincidentally also in attendance, racing a Ferrari 512S, no less! Its spare tire cover was removed, and a pair of movie cameras were mounted securely in the spare tire well. Several runs were made up and down the pit lanes prior to the race. It’s uncertain as to whether the car actually ran during the race. A gyroscopically-stabilized, compressed air-powered, 180 degree rotating Arriflex camera was mounted on the rear deck, where it could be remotely-controlled by a dashboard-mounted TV screen. A 35 mm manually-rotated camera was securely mounted above the passenger side door. Its operation required intrepid cameraman Alex Barbey to crouch alongside it in a small rotating seat.

 

But the combination of these heavy cameras, along with the car’s substantially reduced aerodynamics and now less rigid chassis, meant the car was very hard to control at the 150 mph speeds the filming required. At this time, Dutch skid-pad expert Rob Slotemaker replaced a probably very relieved Jonathan Williams as P/1074’s driver. The much-modified GT40 “roadster” was used in its altered configuration for some five months, until the filming of Le Mans was completed. It was still finished in powder blue and marigold.

 

After the film wrapped production, Harley E. Cluxton III (then of Glenview, Illinois) bought P/1074 from Mr. Brown. He tested the car at the Glenview Naval Air Station and said that crossing the runway arresting cables at speed was what he could only describe as “interesting.” P/1074 was sold to noted collector Sir Anthony Bamford (Staffordshire, England) in 1972. It was subsequently reconstructed by Willie Green, of Derby, England, who did the rework using a new roof structure obtained from Abbey Panels Ltd. The cut-down doors were replaced with early GT40 units, which meant the car was now equipped with early type “rocker” door handles instead of the sliding levers that are found on later J.W.A. racers.

 

Other body modifications performed at this time included new rear bodywork, fabricated from a “standard” GT40 production unit with widened wheel flares, so the transom lacked the additional outlet vents found on Gulf GT40s, and the rear wheel arches did not have carbon fiber reinforcement. Finally, the number plate location had to be modified to clear the exhaust pipes when the rear section was opened. Willie Green raced the reconstituted P/1074 at several UK racing events. Subsequent ownership history is well-documented and includes Mr. Cluxton’s re-acquisition of the car in 1983, prior to another restoration.

 

The peripatetic P/1074 was present at the GT40 25th Anniversary Reunion at Watkins Glen in September 1989 and at the 30th Anniversary Reunion in July, 1994. It has appeared in numerous books, on the “Competition Ford GT40” poster, and it’s been replicated in several models, both as the topless Le Mans camera car and in “conventional” Le Mans racing configuration. The current owner bought P/1074, and sent it to Harley Cluxton for a complete restoration in 2002, where it received a straight nose stripe and a fully vented nose cover. The doors were replaced with units featuring the later rocker style handles (as the car’s original sliding lever handles). The infamous cut-down tail section, which was removed when the car was reconstructed, reportedly survives in France. P/1074 has since been fastidiously maintained by its current owner.

 

In 2003, Jackie Oliver drove P/1074 at the Goodwood Festival of Speed. Again in 2004, this well-known and highly-respected GT40 reappeared at Goodwood fitted with nose canard fins and an adjustable height rear spoiler. In 2009, it was driven by its original driver, David Hobbs, at the Amelia Island Concours d'Elegance, where it was awarded Best in Class.

 

For a fortunate bidder, the acquisition of GT40 P/1074 represents a special opportunity. Aside from its current, stunning presentation, the fact that it is one of only two surviving Gulf Mirage M1s, in which form it accumulated much of its racing history, renders it particularly attractive to an enthusiast who now has the option of relatively easily returning the car to this configuration and actively campaigning the car with its remarkable Jacky Ickx provenance.

 

This car’s impeccable credentials, both as a winning racer and as the camera car for the legendary Steve McQueen film Le Mans, as well as its long documented history of prominent owners and its meticulous restoration in J.W.A./Gulf livery, mark it as one of the most desirable GT40s, and indeed endurance racing cars, ever built.

 

Please note that a number of spare parts accompany the sale, including 1967 Mirage bodywork. Please consult an RM specialist for further details.

 

Special thanks to the GT40 Registry, Ronnie Spain, author of GT40: An Individual History and Race Record, and John S. Allen, author of The Ford GT40 and The Ford That Beat Ferrari, for their help and research on this car.

 

[Text from RM Auctions]

 

www.rmauctions.com/mo12/monterey/lots/1968-ford-gt40-gulf...

 

This Lego miniland-scale Ford GT40 Guld/Mirage P/1074 (1968), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.

 

This particular vehicle was auctioned by the RM Auction house on Friday, August 17, 2012, where it sold for US$11,000,000.

makerbot.creativetools.se

Replicating the method discussed in a recent CVPR paper from UNC, we reconstruct a 3D model of the Taj Mahal based on all the tagged and/or geotagged photos taken by thousands of photographers (the colored triangles). VisualSFM was used to build the reconstruction.

 

See the related Flickr Blog post.

I was born in Norfolk and lived in Suffolk. So I thought I knew those two counties. But of course there is more to Norfolk than Norwich, Cromer, Yarmouth and Kings Lynn, as there is to Suffolk than Ipswich, Lowestoft, Stowmarket and Bury St. Edmunds. And so on My friend, Simon K, runs a fabulous website, which I link to on EA churches, and on his Suffolk Church page he has visited 707 Suffolk churches, and 909 Norfolk churches. That is a lot of churches for two counties to share, and many of those churches are ancient, flint built, round towered or have wall paintings, wooden roof angels or something worth the effort of going to see or seeking out the keyholder to gain access.

 

What I mean is that there is no way someone who only had their own car until 1984, and had little interest in churches or parishes could have heard of most of the parishes in the two counties, and so a parish church like St George.

 

I saw St George from the main road, I was taking a short cut to join the A14 and from there to the A12 and south on what I hoped my my last trip of the year to lowestoft as Mother is now out of hospital and in the care of district nurses in order to get put back on her feet.

 

So I saw the tower of St George from about half a mile away, and thought I had enough time to go over and see inside if I could.

 

I parked at the end of a cul-de-sac of new bungalows, and as I walk up the bank to the gate into the churchyard, the clean lines of the tower, well, towered over me.

 

In the porch I tried the door and found it locked, but the keyholder list made it clear that the nearest one, at Christmas Cottage, was just over the road. So, why not try, Ian?

 

I went to the cottage and rang the bell. I had to fill out my details in a ledger, a sensible measure. But I showed by driving licence to prove that I was who I claimed. Little did I know the small village I lived in had been noticed. More of that in a minute.

 

Inside St George, you eye is stolen by the fabulous pew ends; animals of all kinds, real and imaginary, and most had not been defaced, only those of obvious human form. One with the body of a chicken but a clear human face had been left alone, thus is the madness of the puritan's mind.

 

I decided that I would record every pew end figure, and many whole pew ends so wonderful that they were.

 

There is the feint outline of a huge wall painting, Simon says it was of St. Christopher. It would have been most impressive when freshly painted. There is also a fine set of misericords.

 

St George's glory is the altarpiece, into detail Simon goes below. It is alarmed, so you cannot look at them too closely, sadly, but such is a sign of the times.

 

I took the keys back, and the lady of the house came to speak to me as she had been told by her husband that I was from Cliffe in Kent, which is where her family is from. Sadly, I am not from, nor live in Cliffe. For once there was indeed two Cliffs in Kent, one on the Hoo Peninsular, where her family is from, and one near to Dover. Many years ago, Cliffe near to Dover was called WestCliffe to differentiate it from its namesake further north. I explained this to her, but said St Helen in Cliffe is one of my favourite Kent churches, built of alternate layers of black and light flints and stone, in sunlight it glistens and sparkles.

 

Although St George here in Stowlangtoft is a fine church, it is in a poor state of repair, and is due to be made redundant in the new year. Always sad when that happens to a parish church, but it is likely to be taken over by the CCT, but then who will volunteer to keep it tidy when the old wardens and keyholders are too old.

 

Stowlangtoft is a fabulous church and so glad am I that I spent 40 minutes of my time to visit it. Go to see it now before it is too late!

 

-------------------------------------------

 

In the summer of 2003, this website became a six-part series on BBC Radio Suffolk. Something I said in the fourth programme, about Hessett, generated a fair amount of correspondence. Referring to the way many churches were restored in the 19th century, I observed that when we enter a medieval church, we are encountering a Victorian vision of the medieval; even when the actual furnishings and fittings are medieval, the whole piece is still a Victorian conception.

 

People wrote to me and said things like "but in that case, Simon, how do we know what was there originally and what wasn't?". To which my reply was the enigmatic "assume that nothing is as it first appears, as Sherlock Holmes said". And if he didn't, then he should have done.

 

A prime example of a church that assumes a continuity that may not actually be the truth is here in the flat fields between Woolpit and Ixworth. This part of Suffolk can be rather bleak, especially in late October, but England's finest summer and autumn for decades had left the churchyard here verdant and golden, as beautiful a place as any I'd seen that year. The church is large, and sits on a mound that has been cut down on one side by the road. I walked up the slope, past the memorial to the art critic Peter Fuller and his unborn son, which never fails to move me. It is by the sculptor Glynn Williams, and Sister Wendy Beckett says of it that it cannot be pinned down and encapsulated, it defeats the categories of the mere mind and sings to us of our deeper self.

 

Overwhelmed as you may be by it, don't fail to spot the broken window tracery that has been used to build the wall here, for thereby hangs a tale.

 

St George, in case you don't know, is one of the great Suffolk churches. Although it may externally appear a little severe, and is by no means as grand as Blythburgh, Long Melford and the rest, it is a treasure house of the medieval inside. Unusually for a church of its date, it was all rebuilt in one go, in the late 14th century, and the perpendicular windows are not yet full of the 'walls of glass' confidence that the subsequent century would see. The tracery appears to have been repaired, and possibly even renewed, which may explain why there is broken medieval tracery in the churchyard wall. However, it doesn't take much to see that the tracery in the wall is not perpendicular at all, but decorated. So it may be that the broken tracery is from the original church that the late 14th century church replaced. But the wall isn't medieval, so where had it been all those years?

 

Another survival from the earlier church is the font. It also asks some questions. Unusually, it features a Saint on seven of the panels, Christ being on the westwards face. Mortlock dates it to the early 14th century, and the Saints it shows are familiar cults from that time: St Margaret, St Catherine, St Peter and St Paul, and less commonly St George. The cult of St George was at its height in the early years of the 14th century. Mortlock describes the font as mutilated, and it certainly isn't looking its best. But I think there is more going on here than meets the eye. Fonts were plastered over in Elizabethan times, and only relief that stood proud of the plaster was mutilated. These are all shallow reliefs, and I do not think they have been mutilated at all. To my eye at least, this stonework appears weathered. I wonder if this font was removed from the church, probably in the mid-17th century, and served an outdoor purpose until it was returned in the 19th century.

 

The story of this church in the 19th century is well-documented. In 1832, as part of his grand tour of Suffolk, David Davy visited, and was pleased to find that the church was at last undergoing repair. The chancel had been roofless, and the nave used for services. A new Rectory was being built. Who was the catalyst behind all this? His name was Samuel Rickards, and he was Rector here for almost the middle forty years of the 19th century. Roy Tricker notes that he was a good friend of John Henry Newman, the future Cardinal, and they often corresponded on the subject of the pre-Reformation ordering of English churches. It is interesting to think how, at this seminal moment, Rickards might have informed the thought of the Oxford Movement. Sadly, when Newman became a Catholic Rickards broke off all correspondence with him.

 

During the course of the 1840s and 1850s, Rickards transformed Stowlangtoft church. He got the great Ipswich woodcarver Henry Ringham in to restore, replicate and complete the marvellous set of bench ends - Ringham did the same thing at Woolpit, a few miles away. Ringham's work is so good that it is sometimes hard for the inexperienced eye to detect it; however, as at Woolpit, Ringham only copied animals here, and the wierder stuff is all medieval, and probably dates from the rebuilding of the church. The glory of Stowlangtoft's bench ends is partly the sheer quantity - there are perhaps 60 carvings - but also that there are several unique subjects; you can see some of them below.

  

The carvings appear to be part of the same group as Woolpit and Tostock - you will recognise the unicorn, the chained bear, the bull playing a harp, the bird with a man's head, from similar carvings elsewhere. And then hopefully that little alarm bell in your heard should start to go "Hmmmm....." because some of the carvings here are clearly not from the same group. It is hard to believe that the mermaid and the owl, for example, are from the same workshop, or even from the same decade. The benches themselves are no clue; it was common practice in the 19th century to replace medieval bench ends on modern benches, or on medieval benches, or even on modern benches made out of medieval timber (as happened at Blythburgh). Could it be that Samuel Rickards found some of these bench ends elsewhere? Could he have been the kind of person to do a thing like that?

 

Well, yes he could. As Roy Tricker recalls, the medieval roof at the tractarian Thomas Mozley's church at Cholderton in Wiltshire is one that Rickards acquired after finding it in storage in Ipswich docks. In the ferment of the great 19th century restoration of our English churches, there was loads of medieval junk lying around, much of it going begging. But was Samuel Rickards the kind of person to counterfeit his church's medieval inheritance?

 

Well, yes he probably was. Look at the medieval roundels in the middle window on the south side of the nave. The four evangelists are above and below two superb representations of the Presentation in the Temple and the Baptism of Christ. You can see them below; click on them to enlarge them. Unfortunately, they are not medieval at all, and it is generally accepted that they were painted by a daughter of Samuel Rickards himself. There is something similar the other side of Bury at Hawstead.

 

Truly medieval is the vast St Christopher wall-painting still discernible on the north wall. It was probably one of the last to be painted. The bench ends are medieval, of course, as is the fine rood-screen dado, albeit repainted. There is even some medieval glass in the upper tracery of some of the windows. The laughable stone pulpit is Rickard's commission, and the work of William White. What can Rickards have been thinking of? But we step through into the chancel, and suddenly the whole thing moves up a gear. For here are some things that are truly remarkable.

 

In a county famous for its woodwork, the furnishings of Stowlangtoft's chancel are breathtaking, even awe-inspiring. Behind the rood screen dado is Suffolk's most complete set of return stalls. Most striking are the figures that form finials to the stall ends. They are participants in the Mass, including two Priests, two servers and two acolytes. The figure of the Priest at a prayer desk must be one of the best medieval images in Suffolk; Mortlock thought the stalls the finest in England. I was here with my friend Aidan of Sylly Suffolk fame, and he had previously photographed and written about these carving a a couple of years ago. But even he found something new to photograph, and a hush fell on the chancel as we explored.

 

The benches that face eastwards are misericords, and beneath them are wonderful things: angels, lions and wodewoses, evangelistic symbols and crowned heads. A hawk captures a hare, a dragon sticks out its tongue. Between the seats are weird oriental faces. Some of them are below; click on them to enlarge them.

 

Now, you know what I am going to ask next. How much of this is from this church originally? It all appears medieval work, and there is no reason to believe it might not have been moved elsewhere in the church when the chancel was open to the elements. What evidence have we got?

 

Firstly, we should notice that the only other Suffolk church with such a large number of medieval misericords of this quality is just a mile away, at Norton. I don't ask you to see this as significant, merely to notice it in passing. Secondly, I am no carpenter, but it does look to me as though two sets of furnishings have been cobbled together; the stalls that back on to the screen appear to have been integrated into the larger structure of stalls and desks that front them and the north and south walls.

 

However, if you look closely at the figures of the two Deacons, you will see that they are bearing shields of the Ashfield and Peche families. The Ashfield arms also appear on the rood screen, and the Ashfields were the major donors when the church was rebuilt in the 14th century. So on balance I am inclined to think that the greater part of the stall structure was in this church originally from when it was rebuilt. And the misericords? Well, I don't know. But I think they have to be considered as part of the same set as those at Norton. In which case they may have come from the same church, which may have been this one, but may not have been. Almost certainly, the stalls at Norton did not come from Norton church, and folklore has it that they were originally in the quire of Bury Abbey. Hmm....

 

Other remarkable things in St George include FE Howard's beautiful war memorial in the former north doorway, and in the opposite corner of the nave Hugh Easton's gorgeous St George, which serves the same purpose. It is as good as his work at Elveden. Back up in the chancel is a delightful painted pipe organ which was apparently exhibited at, and acquired from, the Great Exhibition of 1851.

 

But St George at Stowlangtoft is, of course, most famous for the Flemish carvings that flank the rather heavy altarpiece. They were given to the church by Henry Wilson of Stowlangtoft Hall, who allegedly found them in an Ixworth junk shop. They show images from the crucifixion story, but are not Stations of the Cross as some guides suggest. They date from the 1480s, and were almost certainly the altarpiece of a French or Flemish monastery that was sacked during the French Revolution. I had seen something similar at Baumes-les-Messieurs in the French Jura a few weeks before. There, the carvings are brightly painted, as these once were, and piled up in a block rather than spread out in a line. The niches, and crowning arches above them, are 19th century. My favourite images are the Pieta and the Mouth of Hell. Click on the images below.

 

One cold winter's night in January 1977, a gang of thieves broke into this locked church and stole them. Nothing more was seen or heard of them until 1982, when they were discovered on display in an Amsterdam art gallery. Their journey had been a convoluted one; taken to Holland, they were used as security for a loan which was defaulted upon. The new owner was then burgled, and the carvings were fenced to an Amsterdam junk dealer. They were bought from his shop, and taken to the museum, which immediately identified them as 15th century carvings. They put them on display, and a Dutch woman who had read about the Stowlangtoft theft recognised them.

 

The parish instituted legal proceedings to get them back; an injunction was taken out to stop the new owner removing them from the museum. The parish lost the case, leaving them with a monstrous legal bill; but the story has a happy ending. A Dutch businessman negotiated their purchase from the owner, paid off the legal bills, and returned the carvings to Stowlangtoft. Apparently this was all at vast cost, but the businessman gave the gift in thanks for Britain's liberation of Holland for the Nazis. No, thank you, sir.

 

Today, the carvings are fixed firmly in place and alarmed, so they won't be going walkabout again. But a little part of me wonders if they really should be here at all. Sure, they are medieval, but they weren't here originally; they weren't even in England originally. Wouldn't it be better if they were displayed somewhere safer, where people could pay to see them, and provide some income for the maintenance of the church building? And then, whisper it, St George might even be kept open.

 

St George, Stowlangtoft, is in the village high street. Three keyholders are listed, two of them immediately opposite. I am told that Wednesday is not a good time to try and get the key - it is market day in Bury.

 

Simon Knott

 

www.suffolkchurches.co.uk/stowlangtoft.htm

Replicating the cover photo of this year's Autoshite calendar, here is RKG displaying the name of the website and its slogan 'Your motoring is our concern'.

Whitechapel was a British television drama series produced by Carnival Films,[1] in which detectives in London's Whitechapel district dealt with murders which replicated historical crimes. The first series was first broadcast in the UK on 2 February 2009 and depicted the search for a modern copycat killer replicating the murders of Jack the Ripper.

 

A second series was commissioned by ITV in September 2009 with the focus on the Kray twins. The first episode of this second series was broadcast on 11 October 2010.[2]

 

A third series was commissioned by ITV in March 2011, which was extended to six episodes as three two-part stories.[3]

 

The first and second series were broadcast in the United States on six consecutive Wednesday evenings beginning 26 October 2011 on the BBC America cable network. The third was broadcast in the US starting on Wednesday 28 March 2012, also on BBC America.[4]

 

On 24 September 2012, ITV renewed Whitechapel for a fourth series consisting of six episodes. The first episode was broadcast on 4 September 2013.[5]

 

On 16 November 2013, Rupert Penry Jones confirmed that ITV had decided not to recommission the show and cancelled it.[6]

 

Contents

 

1 Production

2 Reception

3 Main cast

4 Episode list

4.1 Series 1 (2009)

4.2 Series 2 (2010)

4.3 Series 3 (2012)

4.4 Series 4 (2013)

5 References

6 External links

 

Production

 

The first season was written by Ben Court and Caroline Ip. ITV Director of Drama Laura Mackie said "Whitechapel is a very modern take on the detective genre which combines the Victorian intrigue of the original case with the atmospheric backdrop of a contemporary East End of London. This is not simply about bloodthirstily recreating the Ripper murders, but rather focusing on the three main characters at the heart of the story and the black humour that binds the team together."[7]

Reception

 

Whitechapel debuted on 2 February 2009 at 9pm with 8.13 million viewers on the overnight ratings.[8] Series one received positive reviews, and holds a Metacritic score of 75 out of 100, indicating "generally favourable" reviews.[9]

 

A review in the Leicester Mercury said that it was "Life on Mars, without the time-travel" adding "what Whitechapel lacked in originality, it more than made up for with atmosphere and enthusiasm."[10] After Episode 2 was broadcast on 9 February, Andrew Billen in The Times said that he had warmed to it more and more, adding, "slowly, the show is making Ripperologists of us all, as Jack's 'canonical' murders are separated from the ones he actually committed. It is all in the worst possible taste and bloody good fun."[11] However, The Daily Telegraph was less impressed, writing "The premise was feeble, the script imbecilic, the acting on autopilot, the direction lacking in any glimmer of tension."[12]

 

Series two received favourable reviews, and holds a Metacritic score of 69 out of 100, indicating "generally favourable" reviews.[13]

Main cast

l to r DS Miles (Phil Davis)

DI Chandler (Rupert Penry-Jones)

Edward Buchan (Steve Pemberton)

Character name Actor Profile First appearance Last appearance

DI Joseph Chandler Rupert Penry-Jones A fast-track, media-conscious Detective Inspector. His first big murder case deals with a copycat killer imitating Jack the Ripper. Suffers with OCD which on occasions has hindered and helped him in solving cases. 1.1 4.6

DS Ray Miles Phil Davis Veteran police officer who has a low tolerance for time-wasters. 1.1 4.6

Edward Buchan Steve Pemberton Ripperologist who offers his aid to Chandler. As a young man, he made a documentary about the Kray twins. 1.1 4.6

Fitzgerald Christopher Fulford Miles' right-hand man. Formerly a DC, he leaked case details of the Ripper to the press; in Series 2, we learn that he has been demoted to PC. 1.1 2.2

DC Sanders Johnny Harris Member of Chandler's team. 1.1 1.3

DC Emerson Kent Sam Stockman Youngest member of the team. 1.1 4.6

DC John McCormack George Rossi Member of Chandler's team. He commits suicide during the Kray case after being forced to betray his team. 1.1 2.3

Commander Anderson Alex Jennings Chandler's boss and mentor. 1.1 2.3

Dr Caroline Llewellyn Claire Rushbrook Police pathologist. 1.1 4.6

DC Finlay Mansell Ben Bishop Joins Chandler's team in Series 2. 2.1 4.6

DC Megan Riley Hannah Walters Experienced member of the team. 3.1 4.6

  

Episode list

Series 1 (2009)

 

Paul Hickey as Dr David Cohen, a doctor at the local hospital.

Sally Leonard as Frances Coles, one of the intended murder victims.

Simon Tcherniak as Dr George Phillips, Frances' boyfriend.

Branko Tomović as Antoni Pricha, one of the main suspects in the new Jack the Ripper case.

Sophie Stanton as Mary Bousefield, a police officer and victim of the new Ripper.

Jane Riley as Sarah Smith, a key witness in the enquiry.

Ben Loyd-Holmes as Private John Leary, the first suspect in the Ripper case.

 

Episode Title Directed by Written by Original airdate Viewers (millions)[14]

1 "Part 1" S. J. Clarkson Ben Court & Caroline Ip 2 February 2009 9.26

As the final step before promotion, fast-tracker DI Joseph Chandler is posted to Whitechapel by Commander Anderson to lead the investigation into the murder of a woman. However, the case does not turn out as straightforward as Chandler had hoped. The victim, Cathy Lane, is found by CSO Mary Bousfield, bleeding to death with her throat cut in the yard of a Board School, with the killer watching only a short distance away. The Whitechapel squad—front-line, hard-bitten DS Ray Miles and DCs Kent, McCormack, Sanders and Fitzgerald—arrive at the scene after Cathy is pronounced dead and are less than pleased to hear of the imminent arrival of yet another new DI, a 'plastic', a 'paper policeman' who has no idea what he is doing. Chandler arrives, armed with the knowledge of his courses and text books, ready to solve his first murder.

2 "Part 2" S. J. Clarkson Ben Court & Caroline Ip 9 February 2009 8.20

As it is clear this case is no longer a straightforward murder that Chandler can wrap up quickly, he is summoned to see Commander Anderson and his superiors who are very concerned that London may have a Jack the Ripper copycat – especially the impact of this leaking to the press. They tell Chandler he is on his own and that he must solve this case quickly. Having earned a small degree of grudging respect, Chandler leads his squad as they begin researching Jack the Ripper, reading books and looking at DVDs, in an attempt to discover who the new Ripper may be. It is a race against time before he strikes again and they have nothing to go on, except what history tells them, and matters are not helped when one of the team, trying to oust Chandler, leaks details of the case to the press.

3 "Part 3" S. J. Clarkson Ben Court & Caroline Ip 16 February 2009 8.72

Chandler has a close encounter with the murderous impostor but fails to catch or follow him; only the timely appearance of a passer-by allows him to escape with his life. His attacker's home, however contains enough clues for the final hunt to begin after the team find the Ripper's apartment. There, finding out that he assumed numerous disguises throughout their case to undermine them incognito, they deduce his most startling alias: David Cohen. With time running out fast, Chandler and Miles manage to find and stop the Ripper before he completes his recreation of the murder of Mary Jane Kelly. However, Chandler remains to look after a seriously wounded Miles while the Ripper escapes and later commits suicide.

Series 2 (2010)

 

Peter Serafinowicz as DCI Cazenove, the corrupt Head of the Organised Crime Division.

Craig Parkinson as Jimmy and Johnny Kray, the heirs to the legacy of the original Kray twins

Chrissie Cotterill as Angie Brooks, mother of the Kray twins.

Andrew Tiernan as Steven Dukes, a local gangster who help the Krays rise to power.

 

Episode Title Directed by Written by Original airdate Viewing Figures (millions)

Sourced by BARB; figures include ITV1 HD

1 "Part 1" David Evans Ben Court & Caroline Ip 11 October 2010 7.00

Since the events of the Ripper case, Chandler is now permanently stationed at Whitechapel with Miles, McCormack and Kent. Fitzgerald has been demoted to PC with his position taken over by DC Finley Mansell. Deemed failures as a result of their inability to catch the Ripper, they are low down in the pecking order in comparison to the Organised Crime Division (OCD) run by DCI Cazenove, lauded for reducing street crime to negligible. The team bemoan the fact that there are no murders. Chandler's interest is piqued, however, when Anderson informs him another big case will find him soon. A dead body is soon discovered floating in the Thames, and a series of horrific attacks follow which appear to echo the Kray twins' infamous crimes of the 1960s. Despite Buchan's timely advice, Chandler suspects the local gangster Steven Dukes to be the mastermind, only to realise that he is facing a criminal duo seeking bloody revenge for the Krays' incarceration.

2 "Part 2" David Evans Ben Court & Caroline Ip 18 October 2010 6.52

A man is murdered in an old haunt of the Kray Twins, a pub called 'The Blind Beggar' in Whitechapel, the scene of a similar murder by Ronnie Kray in 1966. The barmaid says that the killer was Jimmy Kray and that he lives down the road with his mother, Angie Brooks. Chandler and Miles interview Angie, who reveals she visited Ronnie Kray in Broadmoor and he provided her with a sperm sample with which she became pregnant with identical twins, Jimmy and Johnny Kray. Dr Llewellyn explains forensics will not show which twin is the killer, so they need to investigate the Krays the old-fashioned way. Chandler's investigations rattle the twins and he's bundled into a car for a meeting, learning that Jimmy is clearly insane and Johnny is finding it hard to control him when he turned down their offer of backing off. The team's perseverance leads them into personal danger; Miles' son is threatened and Kent is terrorized by uniformed officers on the twins' payroll. Mansell receives a wreath delivered at his home, McCormack has a gun pointed at his head and Chandler is beaten before being dumped in Epping Forest. At rock bottom, Chandler asks for Buchan's help and takes his advice to use Jimmy's insanity to separate the twins. However, learning that Fitzgerald is on the twins' payroll, the meeting with Johnny goes awry while he and his brother rake the pub with automatic fire. Inside, Chandler spots a gun and fires back. When their ammunition is spent, the twins leave. Fitzgerald is arrested soon after while warning Chandler that he is the only one trying to stop the twins and is on borrowed time.

3 "Part 3" David Evans Ben Court & Caroline Ip 25 October 2010 6.03

After the shooting, Chandler instructs Miles to drive to Anderson's house. While Anderson and Chandler talk, Miles becomes worried when the only person he can't reach is McCormack. Racing to his house, they find him hanging in his garden shed. Llewellyn rules that the death is a suicide. McCormack's death appears to mark the end of the inquiry, but it's all for show. The investigation moves to a secret location, Buchan's house, which will be the new incident room. Anderson can only hold the Krays off for three days and they are only too aware that they have no witnesses, no evidence and no leads. They link Ronnie Kray's liking for young boys with Jimmy Kray's "Blonde Boy". When the "Blonde Boy" reveals himself as a girl, the team wonder what else is fake about these twins. Managing to obtain DNA of Ronnie and Jimmy, Chandler's group manages to confirm that their Kray twins are not related to the originals. Using this information to coax Dukes' support in exposing their organization, the Krays are arrested while it is revealed that only their mother Angie knew the truth and lied to them about Ronnie being their father. However, the Krays are assassinated while in custody with Anderson taking advantage of the resulting power vacuum within the police department. Soon after, Anderson accepts Chandler's request to set up a special team.

Series 3 (2012)

 

Whitechapel was commissioned for a third series in March 2011. Unlike the previous two series, which were each based on a single event, the new series was split into three separate 2-part stories. The new six-episode season was shown in 2012 in its usual ITV time slot. Rupert Penry-Jones, Phil Davis and Steve Pemberton resumed their roles in the programme.

 

Christina Chong as Lizzie Pepper (forensics)

David Schneider as Marcus Salter

Camilla Power as DI Mina Norroy

Paul Chequer as Nathan Merceron

Lydia Leonard as Morgan Lamb

Alistair Petrie as Dr. Simon Mortlake

 

Episode Title Directed by Written by Original airdate Viewing Figures (millions)

Sourced by BARB; includes ITV1 HD and ITV1 +1

1 "Case One (Part 1)" John Strickland Ben Court & Caroline Ip 30 January 2012 7.35

DI Chandler and DS Miles investigate the slaughter of four people at a tailor's fortified workshop. Ed Buchan, retained by Chandler as the team's historical adviser, believes that the huge archive at Whitechapel station will provide the necessary insight into this baffling crime that appears to echo the Ratcliff Highway murders 200 years earlier.

2 "Case One (Part 2)" John Strickland Ben Court & Caroline Ip 6 February 2012 6.88

Following on from the incident at the tailor's workshop, a second mass murder occurs, and again there was no obvious break-in and no forensic evidence.

3 "Case Two (Part 1)" Richard Clark Ben Court & Caroline Ip 13 February 2012 7.12

As Chandler and Miles attend the christening of Miles's daughter, a fox runs through the streets of Whitechapel with a human arm in its mouth. Soon, more body parts from the same victim are washed up by the river, all containing evidence of a fatal poisoning. Buchan believes the crimes echo the Thames torso murders of the 1880s - can the team, with the help of a female DI attractively like Chandler in her habits, crack the gruesome case?

4 "Case Two (Part 2)" Richard Clark Ben Court & Caroline Ip 20 February 2012 6.95

When traces of the aphrodisiac Spanish fly are found in murder victims, Chandler and Miles question what kind of killer they could be up against. The team are taken to the heart of a dark obsession where romance and love take a sinister turn.

5 "Case Three (Part 1)" Jon East Ben Court & Caroline Ip 27 February 2012 6.78

When a babysitter is murdered, the only witness thinks she saw the bogeyman do it. Chandler, Miles, and the team suspect a dangerous patient and former Whitechapel resident, obsessed with Lon Chaney and London After Midnight, who's recently escaped from a psychiatric unit. Meanwhile, Buchan, guilt-ridden over his failure in the previous case, is unsure if he should remain a murder-archivist.

6 "Case Three (Part 2)" Jon East Ben Court & Caroline Ip 5 March 2012 7.11

With the body count rising, Miles and Chandler clash over the direction of the investigation. Having already survived the killer's wrath once, Morgan Lamb is of particular interest to the team - especially Chandler. As the chase escalates, will the detectives be able to put their differences aside in the face of their toughest adversary yet?

Series 4 (2013)

 

Daisy Beaumont as Stella Knight

David Gant as Alexander Zukanov

Brian Protheroe as Crispin Wingfield

 

Episode Title Directed by Written by Original airdate Viewing Figures (millions)

Sourced by BARB and Broadcast magazine; includes ITV HD and ITV +1

1 "Case One (Part 1)" Jon East Ben Court & Caroline Ip 4 September 2013 5.55

Chandler, Miles and the team cross paths with MI6 as they investigate the gruesome murder of an apparent tramp. The murder, they discover, is a 16th-century torture, the peine forte et dure. And after a second body is found, an elderly woman burnt at the stake, they realise that someone has started a Witch Hunt and now killing witches in Whitechapel.

2 "Case One (Part 2)" Jon East Ben Court & Caroline Ip 11 September 2013 4.71

As the witch-hunt continues, with two corpses (the second burnt at the stake) in the morgue and a third person missing, the team must save the next victim and catch the killer, who they realize has ergot poisoning.

3 "Case Two (Part 1)" Daniel Nettheim Steve Pemberton 18 September 2013 4.62

The discovery of a flayed face in a Whitechapel gallery leads Chandler and Miles into the art world - but is there also a link to organised crime?

4 "Case Two (Part 2)" Daniel Nettheim Steve Pemberton 25 September 2013 4.26 (excluding ITV HD)

As more flayed bodies turn up, Chandler and Miles question the motives behind these bloody deeds. Buchan's research puts him in danger.

5 "Case Three (Part 1)" Jon East Ben Court & Caroline Ip 2 October 2013 3.27 (overnight)

6 "Case Three (Part 2)" Jon East Ben Court & Caroline Ip 9 October 2013 4.13

References

 

Jump up ^ Whitechapel Press Pack. ITV. pp. 18–19.[dead link]

Jump up ^ "Whitechapel to return to ITV". 10 September 2009. Retrieved 13 November 2013.

Jump up ^ "Whitechapel recommissioned for third series". 3 March 2011. Retrieved 13 November 2013.

Jump up ^ "Whitechapel Series 3 Comes to BBC America on March 28!". 20 March 2012. Retrieved 13 November 2013.

Jump up ^ Munn, Patrick (24 September 2012). "ITV1 Renews 'Whitechapel' For Fourth Season". TVWise. Retrieved 13 November 2013.

Jump up ^ Penry Jones, Rupert (November 16, 2013). "Sorry to be the bearer of bad news everyone but ITV don't want any more Whitechapel. That's all folks x". Personal Twitter Account. Retrieved November 16, 2013.

Jump up ^ McGarry, Lisa (25 March 2008). "Whitechapel Coming To ITV". Unrealitytv.co.uk. Retrieved 13 November 2013.

Jump up ^ Wilkes, Neil (3 February 2009). "ITV Ripper drama grabs 8.1m". Retrieved 13 November 2013.

Jump up ^ "Whitechapel : Season 1". Retrieved 13 November 2013.

Jump up ^ Clay, Jeremy (3 February 2009). "TV review: Whitechapel". Leicester Mercury. Retrieved 13 November 2013.

Jump up ^ Billen, Andrew (10 February 2009). "The Princess and the Gangster; Who Do You Think You Are?; Whitechapel". The Times (UK). Retrieved 10 February 2009.

Jump up ^ "Single Father, BBC One; Lip Service, BBC Three, review". 15 October 2010. Retrieved 13 November 2013.

Jump up ^ "Whitechapel : Season 2". Retrieved 13 November 2013.

Jump up ^ www.barb.co.uk

 

External links

 

Whitechapel at the Internet Movie Database

Whitechapel on BBC America

 

[hide]

 

v

t

e

 

Jack the Ripper media

Seminal works

 

The Lodger

Jack the Ripper: The Final Solution

 

Letters

 

Dear Boss letter

From Hell letter

Saucy Jacky postcard

 

Film

 

Waxworks (1924)

The Lodger: A Story of the London Fog (1926)

Pandora's Box (1929)

The Lodger (1932)

The Lodger (1944)

Man in the Attic (1953)

Jack the Ripper (1959)

Lulu (1962)

A Study in Terror (1965)

Hands of the Ripper (1971)

Dr. Jekyll and Sister Hyde (1971)

The Ruling Class (1972)

What the Swedish Butler Saw (1975)

Jack the Ripper (1976)

Murder by Decree (1979)

Time After Time (1979)

Jack's Back (1988)

Edge of Sanity (1989)

Deadly Advice (1994)

Ripper (2001)

From Hell (2001)

Bad Karma (2002)

Case Closed: The Phantom of Baker Street (2002)

The Lodger (2009)

Holmes & Watson. Madrid Days (2012)

 

Parody

 

Bizarre, Bizarre (1937)

Amazon Women on the Moon (1987)

 

Music

 

"Jack the Ripper" (1963)

"Killer on the Loose" (1980)

The Somatic Defilement (2007)

 

Stage

 

Earth Spirit (1895 play)

Pandora's Box (1904 play)

Lulu (1937 opera)

The Lodger (1960 opera)

 

Comics

 

From Hell

Blood of the Innocent

Gotham by Gaslight

Wonder Woman: Amazonia

Predator: Nemesis

Martin Mystère

 

Literature

Sherlock Holmes

  

Dust and Shadow

The Last Sherlock Holmes Story

Sherlock Holmes: The Unauthorized Biography

 

Short stories

  

"A Toy for Juliette"

"The Prowler in the City at the Edge of the World"

 

Other

  

A Feast Unknown

Anno Dracula

Blood and Fog

Matrix

A Night in the Lonesome October

Jack the Ripper, Light-Hearted Friend

Portrait of a Killer: Jack the Ripper—Case Closed

Time After Time

The League of Extraordinary Gentlemen, Volume III: Century

Phantom Blood

Night of the Ripper

Darkside

Lifeblood

Lost

The Witches of Chiswick

Broken

Dracula the Un-dead

 

TV

series

  

Jack the Ripper (1973)

The Phantom Raspberry Blower of Old London Town (1976)

Jack the Ripper (1988)

Sanctuary (2007–2011)

Whitechapel (2009–present)

Ripper Street (2012–present)

 

episodes

  

"Wolf in the Fold" (1967)

"Comes the Inquisitor" (1995)

"Ripper" (1999)

"Sanctuary for All" (2008)

 

Video games

 

Ripper

The Ripper

Jack the Ripper (1987)

Duke Nukem: Zero Hour (1999)

Jack the Ripper (2003)

Sherlock Holmes Versus Jack the Ripper

Mystery in London

Shadow Man

MediEvil 2

 

Other

 

Casebook: Jack the Ripper

Blood!: The Life and Future Times of Jack the Ripper

 

Related

 

In fiction

 

Commons page Jack the Ripper

 

Categories:

 

2000s British television series

2010s British television series

2009 British television programme debuts

British crime television series

British drama television series

Detective television series

English-language television programming

ITV television programmes

Police procedural television series

Television shows set in London

2013 British television programme endings

 

Acrylic marker and ink on paper 4.75" x 6.75" February 19, 2025. www.saatchiart.com/en-jp/art/Drawing-Self-replicating-Sur...

Certainly not the discreet Bentleys of old! There was no way Hot Wheels weren't going to replicate the extreme Continental GT3 and here it is, released late last year as part of Case Q. Naturally I prefer my diecast Bentleys to be stock but I can see why so many collectors have gone mad for this even if it does mean putting in your own front detailing! Mint and boxed.

Replicate arcade game

Carhenge, which replicates Stonehenge, consists of the circle of cars, 3 standing trilithons within the circle, the heel stone, slaughter stone, and 2 station stones and includes a “Car Art Preserve” with sculptures made from cars and parts of cars.

Located just north of Alliance, Nebraska, Carhenge is formed from vintage American automobiles, painted gray to replicate Stonehenge. Built by Jim Reinders as a memorial to his father, it was dedicated at the June 1987 summer solstice.