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These are a few Streamlined and Semi-streamlined steam locomotives in HO scale. All are brass, except the two British LNER locomotives. New York Central RR - Class
J-3a 4-6-4 by Kumata for LM Blum Models.
This night photo of the American Freedom Train with Southern Pacific steam locomotive 4449, a GS-4 class Northern in charge, was taken around 3:00 AM near Clearwater, Florida, December 1976. The train is operating on the Seaboard Coast Line mainline (former ACL mainline) to Clearwater where it will change over to the former SAL mainline and continue on to Tampa via Safety Harbor. I was lucky to get this photo due to the speed of the train along with obtaining enough light from my two flash units. The steam and smoke really shows up quite well. If you notice in the cab you can see Doyle McCormack at the throttle along with another crew member behind him. The train is at a grade crossing and just starting to cross the street. The locomotive was a modern, semi-streamlined, fast and powerful 4-8-4 oil burning Northern GS-4 class steam engine built by Lima Locomotives Works during 1941. The engine still had an operable booster engine mounted on its trailing truck and it was used when leaving Saint Petersburg. The American Freedom Train carried items of American History for display at various cities and locations for the Bicentennial Celebration. The locomotive almost looks 3D where it is about to jump right out of the photo.
The class 91s are an asymmetrical design, streamlined at the front and yet streamlined at the rear but streamed to meet a different streamlining need, that to reduce the air gap between loco and coach.
In 2012 one of the class 91 passenger locos working the East Coast Main Line in the UK was named after the "Battle Of Britain" RAF Memorial flight based at RAF Conningsby base. Loco 91110 holds the UK electric loco speed record.
Now personally I think the RAF city bombing campaign of WW2 amounted to an appalling war crime. It is a testament to the power of a victor being able to write history that to this day the British are very largely utterly ignorant of the impact of it on civilians and just how little impact the bombing had on the German war machine - German military production peaked as the RAF bombing peaked !
Jamaica Business Resource Center, 90-33 160th Street, Jamaica, Queens, New York City, New York, United States
La Casina is a rare surviving example of Streamlined Moderne design in New York City. The metal and stucco facade of this former nightclub and restaurant structure was constructed c. 1933, during the period of greatest popularity for the streamlined style. The building, erected in the heart of Jamaica’s commercial center, is representative of the many entertainment facilities built in Jamaica during the first decades of the twentieth century as this area developed into the commercial and entertainment hub for Queens County and nearby sections of Long Island. Although altered over the years, the La Casina Building has been beautifully restored and is again one of the most distinctive structures in Jamaica’s business district.
Development of Jamaica
Jamaica, one of the oldest settlements within the boundaries of New York City, developed into the leading commercial and entertainment center of Queens County. The Dutch purchased land in Jamaica from the Jameco (also spelled Jemeco) Indians in 1655. The following year, Governor Peter Stuyvesant granted a charter to the town, originally known as Rusdorp.
Following the transfer of power from the Dutch to the English in 1664, Rusdorp was renamed Jamaica, after the original Indian inhabitants of the region. Queens County (incorporating present-day Queens and Nassau Counties) was chartered in 1683. The English established Jamaica as the governmental center of Queens County, with a court, county clerk’s office, and parish church (Grace Church; the present structure, dating from 1861-62, is a designated New York Landmark). Outside the town center, Jamaica was largely an area of farm fields and grazing land for cattle. The rural village was officially incorporated by New York State in 1814.
Jamaica’s central location in Queens County and the extensive transportation network that developed in the town during the nineteenth century, resulted in the transformation of the community into the major commercial center for Queens County and much of eastern Long Island. It was the arrival of the railroads that began this transformation. The roads and rail lines connecting Jamaica with other sections of Queens County, with Brooklyn to the west, eastern Long Island, and ferries to New York City had a tremendous impact. Jamaica’s farmland was soon being subdivided into streets and building lots, and new homes were erected.
By the turn of the century, Jamaica’s importance as a commercial area became evident in the impressive buildings beginning to appear on Jamaica Avenue, most notably the Beaux-Arts Jamaica Savings Bank Building (Hough & Deuell, 1897-98), 161-02 Jamaica Avenue. After Jamaica was incorporated into the borough of Queens and became a part of New York City on January 1, 1898, additional transportation improvements brought increasing numbers of people. As a result, the population of Jamaica quadrupled between 1900 and 1920.
It was during the 1920s, when the major mass transit links were in place, and during a period when private automobile ownership was growing at an extraordinary rate, that Jamaica experienced its major expansion as a commercial and entertainment center. By 1925, Jamaica Avenue between 160th Street and 168th Street had the highest assessed valuation in Queens County.
During the 1920s and early 1930s, many small- scale commercial buildings were erected in Jamaica, as well as several major office and commercial structures, including the Jamaica Chamber of Commerce Building (George W. Conable, 1928-29) on 161st Street; the Title Guarantee Company Building (Dennison & Hirons, 1929), 90-04 161st Street; and the J. Kurtz & Sons Store (Allmendinger & Schlendorf, 1931; a designated New York City Landmark) on Jamaica Avenue. In addition, Jamaica developed into a significant entertainment center. By the mid-1930s, there were at least eight movie theaters on or just off of Jamaica Avenue, and there were over sixty restaurants, bars, and clubs, ranging from small ethnic taverns to elegant restaurants. It was within this bustling commercial and entertainment setting that La Casina opened.
The Nightclub:
A Brief Examination of Its History and Design
During the late 1920s and 1930s, the nightclub became a prominent and romantic symbol of New York’s nightlife. While partially based on the reality of the city’s exclusive clubs and restaurants, the nightclub image was largely a fantasy based on Hollywood’s interpretation of these elegant establishments. Nightclubs and restaurants with live shows began to appear in New York City in the late 1920s as the enforcement of Prohibition ebbed. With the end of Prohibition in 1933, nightclubs proliferated." As nightclubs and restaurants with live shows grew in popularity, their designs became increasingly elegant. Clubs and related restaurants such as the Central Park Casino, the Persian Room, the Rainbow Room, El Morocco, the 21 Club, and the Stork, catered to an exclusive clientele. While most New Yorkers could not afford to patronize these establishments, they were well known through newspaper gossip columns, magazines, and other popular media outlets.
Movies such as Broadway (1929), Puttin’ on the Ritz (1930), Gold Diggers of 1935 (1935), Broadway Melody of 1936 (1935), and Swing Time (1936) created a romantic image of nightclubs with Modeme and Art Deco decor incorporating streamlined walls and ceilings, glistening mirrored floors, and elegantly appointed revelers. Perhaps in homage to popular Latin dances, many of these clubs, both real and cinematic, were given Spanish- sounding names.
Although modest in scale, La Casina was designed to fit the image of the up-to-date night spot. The club and restaurant was provided with a Latin name and its streamlined design echoes, in miniature, the elegant clubs enjoyed vicariously by patrons as they viewed movies at their local movie palaces.
La Casina: The Site and the Design of the Building
La Casina is located on 160th Street between Jamaica Avenue and 90th Avenue. Located only a few blocks from the center of Jamaica, 160th Street was initially developed with modest frame buildings, most erected as residences but later converted for commercial use. In 1907, the Queens Borough Real Estate Exchange erected a neo-Classical style brick and limestone office building designed by Tuthill & Higgins at 90-33 160th Street.
The building was purchased in 1918 by Arnold Behrer, Jr., and Clarence Behrer. On November 1, 1932, the Behrers leased the site to Bernard Levy and La Casino, Inc., for a period of four years (until 1936). According to the lease agreement, the building was "to be used and occupied only as a restaurant, cabaret, beer garden, casino and dance hall." The rent rose from $1,800 a year the first year to $3,000 during the fourth year. All alterations made to the building by the lessee had to be approved by the owner.
The La Casino Supper Club opened in 1933. It first appeared in the Queens telephone directory for winter 1933-34. Apparently, the club was only open for a short time since it did not appear in the telephone directory for winter 1934-35. The club reopened by May 1936. Telephone directory listings continued to call the establishment the La Casino Restaurant. However, the weekly La Casina Journal, published by the establishment, spelled the name with an "a" and also referred to the La Casina Restaurant and Supper Club in its text. The work undertaken to create the present streamlined design was an alteration of the original building, but no surviving alteration application has been located that specifically notes the construction of a new front. Several permits for small alterations were issued in 1933, and one of these may have included the new facade.
La Casina was designed in the Streamlined Modeme style which became popular in America in the 1930s.' Although it initially appeared on residential buildings, the Streamlined Moderne style was soon adapted for commercial buildings since the dramatic massing and dynamic stripped forms drew attention and, therefore, brought people to the buildings. The style was popular for relatively small-scale public buildings, especially those that were erected for businesses that relied on a large paying clientele.
These businesses included hotels, such as those in Miami Beach; theaters, such as the Pan Pacific Auditorium in Hollywood; movie theaters, notably those designed by S. Charles Lee; bus depots, such as the Greyhound Bus Terminal in Washington, D.C.; and roadside structures such as auto showrooms, motels, and diners. Historian Martin Greif characterized the Streamlined Moderne (also sometimes referred to as Depression Modem) as "an art stripped bare of all ornamentation. . . . Ideally, the Depression Modern style was spare . .
. without a single detail that could be called extraneous, without any embellishment, without a line that did not seem inevitable."
With its smooth planes of stucco, dynamic ziggurat massing, sweeping bands of metal, and its lack of applied ornamentation, the La Casina building fits Greifs description of the ideal streamlined structure. The streamlined mode was an appropriate choice for La Casina, not only providing an up-to-date image for the establishment, but also creating a noticeable form for the small midblock structure, one that would attract attention from busy Jamaica Avenue. This was heightened by the use of a bright projecting vertical neon sign announcing the nightclub’s presence.
La Casina: The Restaurant and Nightclub
La Casina offered dining, dancing, and entertainment. According to the La Casina Journal, La Casina offered three shows a night performed by the La Casina Adorables and the La Casina Swing Melo-Dears. The club also featured special guests such as Maureen Rio, the Broadway star of Earl Carroll’s Sketch Book? There was no cover charge and the club offered free parking.
The Journal noted such special events as "Celebrity Night"; "Democratic Night" and "Republican Night" (at the latter two evenings guests were to meet primary candidates); and "Bowery Night," where guests were to dress in old clothes, men were to arrive unshaven, and all were to be entertained by Diamond L’il, Cuspidor Carrie, Fishface Fanny, Gashouse Gertie, Willie the Gonof, Little Annie Rooney, Champagne Lil, and Limehouse Lou.
Later History
La Casina (or a facility with a similar name) occupied the building until about 1938; the last entry in the telephone directory is for winter 1937-38. In 1940, Arnold Behrer, Jr., lost the property in a legal proceeding to the mortgagor, the Domestic and Foreign Missionary Society of the Protestant Episcopal Church in the United States of America. A tax photograph taken by New York City in 1940 shows "For Rent" signs in the picture windows of the club.
In 1942, the building was sold to the Church of God of Greater New York, Inc., although it does not appear to have ever been used as a church (the Church of God was headquartered on 224th Street). The use, if any, of the building in the early 1940s is not known.
In 1946, the former nightclub was sold to Polly Foundations, Inc., which converted the building into a factory that manufactured Ladyform bras. In 1952, the building was purchased by the Ellen Howard Corporation which manufactured Roxanne swim suits in the building until c.1987.
At some point, probably in the 1960s or 1970s, the galvanized-iron cladding of the ziggurat was covered in aluminum siding. The building was vacated in the late 1980s and deteriorated. In 1989, the Greater Jamaica Development Corporation acquired the former home of La Casina. A restoration was undertaken in 1994-95 under the guidance of the architectural firm of Li-Saltzman.
The restoration entailed the removal of the aluminum siding, the replacement of the deteriorated galvanized iron with aluminum that matched the form of the original, the restoration of the stucco at the lower level to its original colors, the removal of historically and stylistically inappropriate glass block windows and their replacement with historically accurate plate-glass windows, and the restoration of the tile flanking the entrance and of the original doors and glass entrance surround. The original vertical sign was conserved and encased within a new sign. The building now houses the Jamaica Business Resource Center.
Description
La Casina is a one-story symmetrical structure with a two-tiered streamlined facade in the form of a stepped pyramid or ziggurat. The base of the pyramid is set parallel to the sidewalk. This section of the building is faced with stucco.
The stuccoed portion of the facade is divided into a lower section that is painted gray and an upper section painted coral (paint studies determined the historical accuracy of these colors). The base is punctuated by a central entrance that is set back from the sidewalk within a five-stepped enframement clad in glazed black tiles at the lower section; the upper section is coral-colored stucco.
The entrance contains its original wood and glass double doors with very large vertically-placed bronze handles supported by silver-metal upper and lower stepped brackets. The doors are set within a frame of opaque black glass. The entrance bay is flanked by rectangular windows.
During the restoration, glass blocks that were crudely installed, probably when the building became a factory in the 1940s, were removed and replaced with historically accurate undivided plate glass. In addition, a shallow ramp for handicapped access has been added in front of the building.
Directly above the entrance is a curving streamlined frontispiece. It is divided into six wide horizontal bands with seven raised narrower bands covering the joints. To either side of this frontispiece is a six-layer stepped ziggurat. The frontispiece and flanking ziggurats were originally clad in smooth galvanized sheet metal attached to a wooden frame. The metal may originally have been painted gray. During the restoration, the deteriorated galvanized metal was replaced with shiny bands of aluminum.
Attached to the Building is the original vertical neon sign. This sign, which retains the words "La Casina" (an "o" for "casino" overlaps the "a"), "Ladyform Bras," "Swim Suits," and "Roxanne Swim Suits,” has been encased in a new aluminum sleeve with the "JBRC" initials of the Jamaica Business Resource Center in neon.
- From the 1996 NYCLPC Landmark Designation Report
These are a few Streamlined and Semi-streamlined steam locomotives in HO scale. All are brass, except the two British LNER locomotives. Norfolk and Western RR (NW) Class J 4-8-4 by Olympia for Gem Models.
1935 - 1938
Volvo adopted the streamlined trend of the 1930s and in 1935 introduced the PV36, popularly known as the "Carioca".
The car featured independent front-wheel suspension with wishbones and coil springs and a very sturdy all-steel body with rear wheel spats. The body not only looked modern, it was also very safe, as some serious accidents proved. Silent, smooth, expensive and slightly controversial, only 500 Carioca saloons were built and sold. One bare chassis was delivered on which Nordbergs built a convertible body. Top speed of the PV36 was 120 kph.
3.670 cc
6 in-line
80 bhp @ 3.300 rpm
500 ex.
Techno Classica 2019
Essen
Deutschland - Germany
April 2019
This agreeable streamlined building in Penarth, now occupied by a Bangladeshi restaurant, was originally a post office. Above the upper central window is the royal cipher and the date, 1936. It is the cipher of George V, who died that year.
The post office has now moved elsewhere, but the Royal Mail still use the far end of the building, up the flight of steps at the right. Both the building and the smartly painted pillar box are listed.
One of the highlights of the Newbury Classic Vehicle Show was this Hillman Aero Minx Streamlined Saloon. Newbury Racecourse, Berkshire, UK. 2019/08/11
Streamlined Art Deco style saloon
Chassis n° 248901
2.663 cc
6 in-line
624 ex. (SS1 Airline Saloon)
4.254 ex. (SS1)
Jaguar Heritage Trust Collection
British Motor Museum
Gaydon
Warvick
England - United kingdom
November 2018
LNER A4 Class 4-6-2, 60009 Union of South Africa, The LNER Streamlined A4 class was built between 1935 and 1938 by the designer H.N.Gresley at the LNER's Doncaster works. 60024 Mallard still holds the world record for a steam Locomotive at 126mph
Bugatti 1934 streamlined railcar at the Citi du Train (National Railway Museum) in Mulhouse, France. Famed for their speed records (one reached 196 km/h in 1937) a total of 88 were built in a variety of configurations, this being one of the luxury "Presidential" type. The car has a total of 16 wheels (see photo later in this group). This is the only Bugatti railcar preserved, having been converted to an inspection vehicle after retirement in 1958, and used in its new role until 1970.
More on the history of the Bugatti railcars can be found here: retours.eu/en/23-autorail-bugatti/#
The Tatra 603 was the last, and best iteration of a long line of streamlined cars by Tatra, including the 77 - the first series-made aerodynamic car in the World, the V570 prototype that was stolen by the Nazis and morphed into the VW Beetle, the T87 and T97, the T600 "Tatraplan" and finally the 603.
Of all these truly great cars, the 603 was the most efficient, quickest and handsomest, one of the great and most innovative cars anywhere.
This photo was taken using a vintage Praktica MTL5B camera from East Germany.
The streamlined profile of a Chicago, Burlington & Quincy car shows that it was built by Budd. Shown is 10-6 sleeper Silver Ridge, built for the Q in 1956. (Scanned from a slide)
A bus full of young women on a "Kraft durch Freude" outing. These outings were generally compulsory and usually not much fun.
The "Streamlined" bus was operated by the Deutsche Reichsbahn who were reponsible for Autobahn bus services in the Third Reich.
With its streamlined styling, low-slung chassis and supercharged engine, the Type 57SC Atalante is one of the most desirable Bugattis. It was personally designed by Jean Bugatti as a two-seater sports coupe and became the rarest of the four different body styles offered by Carrosorie Bugatti. The Atalante body style was an interpretation of the 1935 Aérolithe Coupe, essentially a prototype that reached very limited production in 1936 as the Type 57 Atlantic. This somewhat bizarre car used riveted panels to form a streamlined sports coupe. It’s rumored that Jean Bugatti was influenced by the Mercedes-Benz 500 K Autobahnkurier at the 1934 Frankfurt Auto Show and created the Aérolithe as a response.
As majestic and unusual as the Atlantic was, it wasn’t suitable for series production with its high set doors, fussy construction and split front window. The design was revised into the Atalante which included the Aérolithe’s teardrop shape, but with a flat windshield, a separate trunk area with recessed spare-tire and full-size doors that retained the signature kidney-bean windows.
On the 57S Atalante, Jean used a two-tone paint scheme that accentuated the use of his French curve on the side of the car. Typically, the car was black with an intense highlight color. On some cars, this accent dash extended around the entire cabin.
The basis for this remarkable car was Bugatti's top-of-the-line Type 57S chassis. These were the same type that Jean-Pierre Wimille and Robert Benoist drove to win the 1937 24 Hours of Le Mans. It had a much lower chassis than the preceding Type 57 and also used complex de Ram shock absorbers
. In many ways this was the ultimate Bugatti since no logical successor was ever produced. Some cars came with fitted superchargers, while others were retrofitted with them.
To maintain exclusivity, no two of the Type 57S Atalantes were the same. In detail, each was distinct and some major differences were introduced. For instance, two were made as Roll-Back Coupes with reclining soft-tops. Some of the first had independent headlights while others were sculpted into the body. Most featured skirted rear arches and wire wheels or polished aluminum hubcaps. Some of the more dramatic cars feature lengthened rear fenders. Essentially, where anyone tries to make a rule there is usually an exception.
Type 57SC Chassis
Atalante bodies were manufactured on the complete range of Type 57 chassis. This was Jean Bugatti’s answer to model consolation, replacing the six luxurious and sporting chassis made under his father’s direction. Using the dual-overhead camshaft (DOHC) concept engine from the Type 55 road car, he designed an entirely new chassis.
The first of these were the Type 57 and supercharged 57C both were distinguished by their tall radiator and chassis. They were powered by a new engine with 72mm bore and 100mm stroke, producing 135 bhp at 5,000 rpm. Almost as important, they provided the support for Jean Bugatti’s exceptional bodies which were elegant, with balanced proportions and daring colors.
Later, the chassis was definitively upgraded into the lower Type 57S or Surbaissé version. The main chassis rails of this model were elegant and complex. Towards the center of car, the chassis rails became wider and taller to provide the necessary rigidity. At the rear, the axle passed through the chassis and was supported by reversed quarter-elliptic leaf springs. This allowed for the lowest possible ride height while retaining suspension compliance. Furthermore, the engine clearance dictated a dry-sump lubrication was needed that used a 20-liter external reservoir.
Outwardly, the Type 57S chassis was distinguished by its ovoid radiator that formed a deep vee. Other chassis details included self-adjusting DeRam hydraulic shock absorbers on both the front and rear axles. Furthermore, the engine was not a stressed member of the chassis anymore, instead being mounted with rubber bushings.
As the ultimate Atalante, the Type 57SC had both this lower chassis and supercharged engine. It was distinguished by its 4–5 psi supercharger that helped the 3.3-liter engine produce 170 bhp. This Roots unit was mounted at the rear of the engine and driven directly from the camshaft. Versions of this engine went on to win the best races including the 24 Hours of Le Mans.
With such a capable chassis, the Type 57SC has been described as the world’s first supercar
None of the cars roof sections come off, and their is no interior, to save on costs when this model is built in real life (hopefully) later this year. The letters CBQ go on the far end of the engine unit, while 9903 goes near the nose.
Norfolk and Western 611, also known as the "Spirit of Roanoke" and the "Queen of Steam", is a Norfolk and Western class J 4-8-4 "Northern" streamlined steam locomotive built in May 1950 by the N&W's East End Shops in Roanoke, Virginia. Wikipedia
Build date: May 29, 1950
Designer: H.W. Reynolds and Franklin C. Noel
Rebuild date: 1981–1982; 2014–2015
Serial number: 388
en.wikipedia.org/wiki/Norfolk_and_Western_611
Also see: flic.kr/p/2o8ahxn
DSC_0510a
Iowa Pacific (SLRG) former Nickel Plate Road (NKP) Pullman-built streamlined heavyweight diner-club lounge #125. Built in February 1930 by Pullman in Lot #6308 as a 36 seat coach-18 seat diner, 1 of 2 such cars (#125 and #126) built in that Lot. In 1940, both cars were rebuilt to a diner-club lounge configuration, with the coach section replaced by a 20 seat lounge (1 seat was at a writing desk), and the dining section was slightly moved from off-center (towards the kitchen) to almost dead-center; this allowed for the addition of 4 storage lockers, a crew locker, a conductor's desk and locker, and a refrigerator. Also, the vestibule at the former coach end was closed off, replaced by another locker and small restroom. In 1946-47, both cars were streamlined (#126 in '46, #125 in '47), and the number of dining seats was increased to 24, with the 3 2-seat tables on the kitchen passage side (seen in this photo) replaced by 3 4-seat tables. Following the 1964 NKP-Norfolk & Western Railway (N&W)-Wabash Railroad (WAB) merger, these 2 cars were planned to be renumbered as N&W #1025 and #1026, which may or may not have been applied. The #125 was retired and sold in December 1965 to John W. "Jack" Ferris' Private Railroad Cars, Incorporated, which named it WABASH VALLEY. The #126 is listed as retired in January 1966, but not sold until 1973. It is possible, however unconfirmed at this time, that along with Pullman sleepers GLEN FEE and WOODLAND, that the Oregon, Pacific & Eastern RR (OPE) in Roseburg, OR, acquired the WABASH VALLEY from Ferris. This would appear to be the case, as the #125, along with the 2 Pullmans, was later part of the collection of the Galveston RR Museum. Seen in Iowa Pacific's ex-Denver & Rio Grande Western (D&RGW) yard in Alamosa, CO.
Streamlined Duchess 6236 City of Bradford when quite new by the looks of it and viewed from an elevated position at Camden shed...fitted wqith double chimney from new she lost the streamlined casing in Dec 1947.......photo 1939
Postcard of a (for me) unknown German 30s motorcycle. But most probably a 1929 BMW, on which Ernst Henne on Sept. 19, 1929 achieved a world-record.
Seen in Museum der Dinge, see also: museumderdinge.de/stand_der_dinge/
Number seen: 1.
Berlin-Kreuzberg, Oranienstrasse, July 24, 2014.
© 2014 Sander Toonen Amsterdam | All Rights Reserved
This is the leading end of the Hudson 4-6-4 at the B&O Railroad Museum. This engine would have been quite impressive to see roaring down the tracks at speed. Definitely a favorite of mine!
An ex-Chicago Burlington & Quincy, ex-Burlington Northern streamlined diner, Silver Salver, is found in Douglas, WY.
Even the oil lamps are streamlined on the gorgeous LMS Princess Coronation Class steam locomotive number 6229 'Duchess of Hamilton' inside the Great Hall at the National Railway Museum in York (UK).
6229 was built at Crewe Works by the London Midland and Scottish Railway in 1938
The front view of the streamlined LMS Princess Coronation Class steam locomotive number 6229 'Duchess of Hamilton' inside the Great Hall at the National Railway Museum in York (UK).
6229 was built at Crewe Works by the London Midland and Scottish Railway in 1938
These are a few Streamlined and Semi-streamlined steam locomotives in HO scale. All are brass, except the two British LNER locomotives.
This is a scale model from this amazing book:
Streamlined Dreams
Ten Amazing Unbuilt Automobile Designs, 1916–1939
by Jared A. Zichek
Retromechanix Productions, 2017
102 pages, CAD color illustrations, softcover
ISBN-13: 978-0996875424
Book review:
speedreaders.info/18317-streamlined-dreams/
A review of both this model and the book:
I worked this one the most at Photoshop 6.0 to get rid of all the other distractions from La Casina (buildings left and right and a car out front) For an explanation about this building: www.flickr.com/photos/catchesthelight/7235107404
Sir Nigel Gresley's A4 Pacific locomotives built for the LNER - represented here by 4468 'Mallard' which is the world speed record holder for steam traction (126 mph) - make an interesting comparison with an LMS streamlined Coronation Pacific (6229 'Duchess of Hamilton') which was designed by William Stanier at around the same time.
The works manufacturer plate on the side of The gorgeous streamlined LMS Princess Coronation Class steam locomotive number 6229 'Duchess of Hamilton' inside the Great Hall at the National Railway Museum in York (UK).
Scanned Print
Photo from the collection of my Dad, Jay T. Thomson; Unknown Photographer
Streamlined L&N 4-6-2 277 rests at the Evansville, Indiana roundhouse sometime in 1951.
In 1939, as part of the New York World's Fair, the London Midland & Scottish Railway undertook the mammoth task of releasing one of their streamlined locomotives and matching train sets and shipping them across the Atlantic for display as part of the Transportation exhibits in New York. This was not the first time the LMSR had shown such panache as in 1933 they had sent the Royal Scot train to the United States on a tour.
The locomotive seen 'here' and that was displayed at the Fair following a journey around the US was badged up as 6220 'Coronation' and carried the streamlined crimson livery; it was in fact locomotive 6229 Duchess of Hamilton disguised and the original 6220, one of the first five of the larger class, originally carried the streamlined 'Caledonian Blue' livery. The whole Fair was overshadowed by the outbreak of war in 1939 and the train was effectively stranded in the US. The locomotive returned to the UK in 1942 and regained its original identity the following year. The carriages had to wait until 1946 until being repatriated.
The leaflet opens to describe the importance of the LMS and its services along with descriptions of the territory it served. There was a similar leaflet, printed in red, that was issued during the Exhibition in New York City.
Streamlined cruise ship Hamburg returning down the St. Clair River from an early Fall trip into the Great Lakes
Streamlined art deco van. This design is a slightly modified version of Flickr user snaillad's van, which you can find in his photostream. I wanted to do a different colour and add a more rounded rear - and I think I achieved the last part quite nicely. First created in MLCad, then built with real bricks.
London transport streamlined STL experiment on STL857 later to become STF1. The body which was built by LT at Chiswick works had an full front with enclosed nearside, many drivers complained of more noise and poor visiblity on the nearside. It was later rebuilt to standard on the lower deck but the top deck remained as seen here with a steeper rake rearwards , this was in 1938 and the bus again became STL857, the body later becoming STL1167 which was withdrawn in 1950 and scrapped. In 1936 there was talk of a whole batch of simlar STF's being built.
Another visitor to the museum appreciates the rivetwork on LMS no. 46229 "Duchess of Hamilton" as she basks in the sun at the National Railway Museum.