5d-131 aspen, colorado
summer 1982
jane jenkins
aspen arts picnic
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
5d-132 aspen, colorado
summer 1982
jane jenkins
aspen arts picnic
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
MAJORETTE DODGE CHARGER MK2 R/T NO4 1/64 Not only are Home Bargains selling the Majorette Tune Up's Series 2 from 2021 but also TK Maxx though they are priced considerably higher for some reason. Its almost certain they came from the same source!
I hadn't found any of the Dodge Charger R/T release in Home Bargains and so bit the bullet grabbing this from TK Maxx. Its a riot of red and black and all the better for it giving it an old school muscular brawn appearance.
Like most of the castings available in this series I have left off any of the supplied plastic add ons and stickers as for me they detract massively from the standard castings. Without them you can enjoy the model better from its opening bonnet/hood to its working suspension.
Mint and boxed.
making........trouble? Terry, that was a bit risky standing on the bonnet of that car, especially with CCTV in the area!
Even the Liver birds are looking the other way.
Photo taken from Love Lane, I'll let you work out the gags......?
Original American design. Badged "ANZAC ". Hartnett never liked the original American design. He believed it just looked like a down sized American car. He didn't like the downswept crease line that ran from the front gaurd down to the rear quarter panel. He was also opposed to the low lying grille which he believed made the bonnet look to long. Initially Harley Earl was satisfied with the way the "ANZAC" looked and took no notice of Hartnets requests. Earl was however eventually persuaded to some styling changes which meant the elimination of the down swept crease line before the cowl pillar (front door) and a larger more striking grille.
(1981) Sunshine Kids OutfitBOX DATE: 1981
MANUFACTURER: Playmates
PERSONAL FUN FACT: This outfit looks like so many baby doll ensembles from the 80s and 90s. It reminds me of an old talking style baby that a family friend gave me as a child. Perhaps that's why I felt a certain fondness for this Sunshine Kids doll, when she turned up in an L.O.L. flea market lot in 2024. Anyways, I could deduce, based on the fit, that this getup was the baby's proper one. Even the bonnet matched. It's not the best quality. The material is quite thin and would be prone to ripping. It was also squalid upon arrival. I had to wash it twice in order to brighten it up. But it looks much fresher these days, and also smells considerably cleaner.
Caister Car Collection (63)A Motor Vehicles
This collection of images has been taken over the years at Vintage Motor Rallies, Museums and random Car Meets and the like.
This selection was taken at either the Caister Car Collection in Norfolk or the Coventry Motor Museum and is the 6th posting of the series.
Margot (Lefebvre) in Blue 1902 Mary Cassatt, the daughter of a wealthy Pennsylvania banker, traveled extensively through Italy, Belgium and Spain and trained in Paris with several notable teachers including Gérôme and Couture. She met Degas in 1877, and though their friendship would be fitful and end in total estrangement, the encounter proved meaningful for both artists. Under Degas' influence, Cassatt's early, earthy realist style gave way to a more impressionistic approach. He in turn, recruited a sympathetic artisan for his realist faction of Impressionism. Like Degas, Cassatt explored various techniques, including pastels and graphics. She also shared his abiding interest in Japanese art. Excluded from many of her male colleagues' haunts, Cassatt appropriated as her specialty images of upper-class women and children. Characteristic of her later work is this pastel, "Margot in Blue," showing a child wearing a floppy white bonnet and blue dress.
H: 24 1/8 x W: 19 3/4 in. (61.3 x 50.2 cm)
Framed H: 30 11/16 × W: 26 × D: 3 1/8 in. (78 × 66 × 8 cm)
medium: pastel on brown, moderately thick, slightly textured, wove paper
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/9356
Cedar City, UT Bonnets in the desert
330 Triumph Spitfire (Mk.IV) (1971) JDJ 616 K Triumph Spitfire Mk.IV (1970-74) Engine 1296 S4 OHV Production 70,021
Registration Number JDJ 616 K (Saint Helens)
TRIUMPH SET
www.flickr.com/photos/45676495@N05/sets/72157623847263736...
The Mark IV brought the most comprehensive changes to the Spitfire. It featured a completely re-designed cut-off rear end, giving a strong family resemblance to the Michelotti designed Triumph Stag and 2000. The front ends had a new bonnet losing the weld lines on top of the wings and the doors were given recessed handles and squared-off glass in the top rear corner. The interior was updated with a full width dash, placing the instruments ahead of the driver, this was initially black plastic however was replaced with wood in 1973.
The engine was reworked, but was slightly slower than the Mark III due to the cars increased weight and revised gearing. The engine continued at 1296 cc, but in 1973 was modified with larger big-end bearings to rationalize production with the TR6 2.5 litre engines, though power output was reduced to conform with increasing emission regulations.
By far the most significant change, however, was to the rear suspension, which was de-cambered and redesigned to eliminate the unfortunate tendencies of the original swing-axle design. The Triumph GT6 and Triumph Vitesse had already been modified, and the result on all these cars was safe and progressive handling even at the limit.
The Mark VI was replaced in 1974 by the Spitfire 1500.
Diolch am 86,141,978 o olygfeydd anhygoel, mae pob un yn 90cael ei werthfawrogi'n fawr.
Thanks for 86,141,978 amazing views, every one is greatly 7appreciated.
Shot 01.08-2021 exiting the Silverstone Festival 01.08.2021 Ref 150-330
329 Triumph Spitfire (Mark 3) (1970) UTR 246 H Triumph Spitfire Mk.III (1967-70) Engine 1296 S4 OHV
Production 65,320
Registration Number UTR 246 H (Southampton)
TRIUMPH ALBUM
www.flickr.com/photos/45676495@N05/sets/72157623847263736...
The Spitfire was conceived by Standard-Triumph to compete in the small sports car market against the Austin-Healey Sprite it was introduced as a rear-wheel drive, two-passenger convertible sports car introduced at the London Motor Show in 1962
The Mark III, introduced in March 1967, with the Spitfires first major facelift. The front bumper was raised in response to new crash regulations, and the front coil springs were slightly raised. Slightly revised bonnet pressings were carried over. Rear overriders were deleted and bumper mounted reversing lights became standard, the interior was refreshed with a wood-veneer instrument surround and a smaller, 15-inch, wire spoked steering wheel. A folding hood replaced the earlier, more complicated design. For most of the Mark III range, the instrument cluster remained centre-mounted (as in the Mark I and Mark II), easily accommodating right-hand and left-hand drive versions. The 1,147 cc engine was replaced with a bored-out 1,296 cc unit shared with the new Triumph Herald 13/60 and Triumph 1300 saloons. In SU twin-carburettor form, the engine put out a claimed 75 bhp making the Mark III a comparatively quick car. The 1968 model featured dual system (aka tandem) brakes with a brake failure warning device. The engine used a revised camshaft and a distributor with idle speed ignition timing retarded to address emissions. The twin SU carburettors now included overrun valves in the throttle discs and anti-tampering features on carburettor fuel-air mixture nuts
Diolch am 86,141,978 o olygfeydd anhygoel, mae pob un yn 90cael ei werthfawrogi'n fawr.
Thanks for 86,141,978 amazing views, every one is greatly 7appreciated.
Shot 01.08-2021 exiting the Silverstone Festival 01.08.2021 Ref 150-329
326 Toyota GR Yaris Circuir 4WD (2021) GR 66 RRL Toyota GR Yaris Circuit 4WD (2020-on) Engine 1618ccc G16E-GTS turbo S3 257bhp
Registration Number GT 66 RRL (Vehicle related cherished number, originally allocated c.2017 from Brighton)
TOYOTA ALBUM
www.flickr.com/photos/45676495@N05/8258149874/in/set-7215...
The Toyota GR Yaris is a sport compact car manufactured since 2020 by Toyota with assistance from the company's Gazoo Racing (GR) division. It is a three-door hatchback which was designed to meet World Rally Championship (WRC) homologation rules. The GR Yaris is available with four-wheel drive alongside other significant modifications which differentiate it from the five-door XP210-series Yaris, with the rear of the car being based upon the larger E210-series Corolla.
Designed by Shota Ito, Takeo Okuno and Cho Byung-kan, The Gazoo Racing WRT team, led by team principal and 4-time WRC champion Tommi Mäkinen, was heavily involved in the design. The challenge was to build a car that was capable of being equipped to race at WRC events, but also suitable for daily driving. It was felt that unlike the standard Yaris the car needed to be three door, have four-wheel drive, a wider rear track and a double wishbone suspension layout to handle significantly increased torque. The design changes required that the GR Yaris be built on a combination between the front end of the standard Yaris' with the rear of the GA-C platform used by the Corolla, To save weight, the GR Yaris also uses aluminium for the front bonnet, boot lid and door panels. It also uses carbon fibre-reinforced plastic for its roof panel which was formed using the sheet moulding compound method
The production car is powered by a Gazoo Racing-built, turbocharged and direct/port-injected 1.6-litre G16E-GTS three-cylinder engine that produces 257 to 268 hp (261-272 PS) varying due to emissions regulations in certain markets. The engine is mated to a 6-speed V16-series intelligent manual transmission, and GR-Four permanent four-wheel drive system. It has a claimed 0-62 mph (0-100kmph) acceleration time of 5.2 to 5.5 seconds and a top speed of 143mph
Diolch am 86,141,211 o olygfeydd anhygoel, mae pob un yn 90cael ei werthfawrogi'n fawr.
Thanks for 86,141,211 amazing views, every one is greatly 7appreciated.
Shot 01.08-2021 exiting the Silverstone Festival 01.08.2021 Ref 150-326
Brixham is a Fishing Capital, and so it appears, Torbay, South Devon, England. Commentary.
Pirates, Galleon replicas,
fresh-water flake-ice, fishy odours,
fishing boats, tourists,
day-trippers, locals,
shops, restaurants,
harbour-side bustle, fish market,
hoists, winches,
ropes, pulleys,
capstans, nets,
tea-rooms, souvenirs,
multi-coloured houses, masts,
sails, engines,
marina, harbour wall,
eye-patches, arm-slings,
beards, tricorn hats,
full-length dresses, bonnets,
smocks, aprons,
swords, muskets,
parrots and wooden legs.
History, culture and fun overflows in a fishing
port that bristles with life and activity.
Such is Brixham on Pirate Day.
The Lady Apothecary 1825-1870 Baltimore artist, Alfred Jacob Miller was a prolific sketcher. He filled many journals with drawings and captions from the time he was studying in Paris and Rome (1833) until the 1870's. In 1969 a collection of 100 of these sketches was generously donated to the Walters Art Museum by J. William Middendorf II. The interests of Miller are clearly reflected in these sketches: the theater (a large portion being quick figure drawings of the Ravel Pantomime Troupe), childhood memories, Baltimore scenery, and witty scenes of characters. (See The Walters Art Gallery Bulletin, April, 1969, Vol. 21, No. 7, Pages 3-4).
"The Lady Apothecary gets along very well, until a 'new style' Bonnet passes when she incontinently loses her head, picks up the wrong bottle & poisons the patient!" -Miller
with frame: 12 7/8 x 11 1/2 in. (32.7 x 29.2 cm)
medium: wash on paper
Walters Art Museum, 1973, by gift.
art.thewalters.org/detail/11514
325 Toyota TRD 3000GT (Supra Mk.4) (1994) B 11 LEY Toyota TRD 3000GT (Supra) (1994) Engine 2997cc S6 Twin Turbo (claimed 700bhp)
Production 35 (survivors 19)
Racing Livery Advan
Registration Number B 11 LEY (Cherished number, originally allocated for issue from Bangor Gwynedd, North Wales)
TOYOTA ALBUM
www.flickr.com/photos/45676495@N05/8258149874/in/set-7215...
Developed by Toyota Racing Development (TRD) the company’s in-house tuner, And released as a very limited production model just a few months before the arrival of the 4th generation Supra. As a road legal version of the works entry in the inaugural Japanese Grand Touring Championship (JGTC). The TRD 3000GT featured the same wide body and wind tunnel-honed bodywork as the new GT500 class super-touring Supra. Every component of the TRD conversion became available to order individually as a dealer-fit accessory, although there were only 35 factory-built models officially re-classified the car as a TRD 3000GT rather than a Toyota Supra.
For TRD this was to be their debut road car project was more about improving performance by optimising the vehicle’s dynamic ability, rather than increasing power. So although the conversion did include enhanced engine-breathing products and uprated suspension, the primary focus was creating a lighter more aerodynamic car. The relatively sharp front splitter sent some of the atmosphere under the car, where the flattened floor guided airflow backwards to generate downforce and maximise the effect of the rear diffuser. Its larger bumper intake doubled the amount of air ingested which are channelled via ducts towards the radiator, turbo intercooler (offside) and optional oil cooler (nearside). One of the TRDs most noticeable features are the four geometric bonnet vents intended to negate negative air pressure from all the incoming air and to aid cooling, though on the road their effects are limited by the special panels attached to the underside which protect against water damage. For track use however these can be removed
The TRD 3000GT also features wider wing panels ro allow for its wider wheels the wings are joined by squared-off skirts designed to prevent airflow travelling along the upper surface of the body from interfering with ground level airflow. At the rear, there were two different high-level wing designs: Type-S and Type-R. Both offered a cross-section and blade design that generated a greater aerodynamic advantage than that on the standard Supra. But while the triple-leg design of the latter offered a fixed arrangement, the blade of the more popular Type-S can be set at six different angles.
This car puts out some 700hp, rom its built 2JZ and sports the iconic Advan racing livery. With all that power, it's probably a good thing that the brakes have been upgraded to an 8-piston setup at the front.
Diolch am 86,139,286 o olygfeydd anhygoel, mae pob un yn 90cael ei werthfawrogi'n fawr.
Thanks for 86,139,286 amazing views, every one is greatly 7appreciated.
Shot 01.08-2021 exiting the Silverstone Festival 01.08.2021 Ref 150-325
Scotch Bonnet Peppers 53880675779_b309b48c7e_b
Hot Pepper Plants The right two are Carolina Reapers. 3rd from the right is a chocolate Scotch Bonnet. The far left is habanero.
2012 Jaguar XKR-S Coupe Replacing the Jaguar XJS was the 1997-2006 XK range, they shared their platform with the Aston Martin DB7. XK models use a 2+2 seating layout for the interior.
The initial model available was the XK8, powered by the new 290hp 4.0-litre 32-valve Jaguar engine and was available in a three-door hatchback coupé and two-door convertible bodystyles.
The XKR, introduced in 1998, got a 370hp supercharged version of this engine, other visual differences from the XK8 include a small rear spoiler and hood louvres on the bonnet, along with a meshed front grille.
The 2011 facelift included front and rear styling changes and internal trim changes.
Introduced in 2011, the XKR-S was a high performance version of the XKR. The XKR-S got a more powerful engine, active sports exhaust, better braking and suspension, adjustable sports seats, 20-inch Vulcan wheels and Pirelli P-Zero tyres.
Engine; 542hp supercharged 5000cc V8
Brisbane Motor Museum
1993 Jaguar XJ-S Series III 2 door Coupe Jaguar merged with BMC in 1966 and then with Leyland in 1968. Ford acquired Jaguar in 1990 joining with Land Rover in 2000
The XJ-S replaced the E-type, it was a 2 door coupe or convertible luxury grand tourer and was based on the XJ Saloon. It was built from 1975-96.
1975 Series I; 5.3 litre V12, only available as a 2 door coupe, black boot trim.
1981 Series II; (XJ-S HE) body-coloured boot trim, new five-spoke alloy wheels, chrome inserts on the upper part of the bumpers.
1983, 3.6 6 cylinder available and targa convertible introduced, (XJ-SC)
1988; full convertible available (XJR-S)
1991 Series III; XJS; the rear side windows appeared larger and a more aerodynamic bumper, the V12 increased from 5.3 to 6.0 and the 6 cyl from 3.6 to 4.0. (6 cyl cars got a slight 'power bulge' in the bonnet)
Brisbane Motor Museum
Old Man Before a Prie-Dieu 1832 Nicolas-Toussaint Charlet conveyed the fascinating complexity of early 19th-century French class structure and social change in "Old Man before a Prie-Dieu." Perhaps the solemn mood of the image relates to the devastating cholera epidemic that swept France in 1832, killing 18,000, mostly poor, Parisians. The central character has placed his walking stick against the prie-dieu on which he leans in front of a side altar in a medieval church. His hair is wild and ungroomed, and his dark wool overcoat, breeches, and silver buckled shoes are worn and unkempt, identifying him as an indigent aristocrat. His piety unites him with the bearded vagabond on the left, who kneels nearly prostrate to join in prayer at the side altar. In the background, a large congregation, including a Norman identifiable by her bonnet, a balding man, and a child, stands and faces the high altar. In contrast to the pious environment of the church, a shoeless street urchin of eight or nine leans in boredom against a column to the right of the aristocrat and stares up at the old man.
H: 6 15/16 x W: 5 3/16 in. (17.6 x 13.2 cm)
medium: transparent watercolor over graphite underdrawing with scraping on cream, thick, moderately textured wove paper
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/5718
Profile of a Gypsy Woman 1500-1525 (Renaissance) This panel was originally installed along the upper wall of a room, perhaps a study or reception room, where it would have been joined by other panels identical in format and similar in subject in that they normally depict attractive young women and sometimes men in profile. This type of decoration was common in palaces in the north Italian region of Lombardy in the late 15th and early 16th century. Though the figures in these panels might initially look like portraits, they were often intended to be generic—simple representations of men and women from varying social classes and origins. This woman, with her loose hair, striped shirt and checkered bonnet, appears to be a gypsy. The inclusion of a figure from an outsider group is highly unusual and there is likely some story behind it.
Painted surface H: 16 5/8 x W: 14 5/8 x D excluding cradle: 5/16 in. (42.2 x 37.2 x 0.8 cm)
medium: tempera on wood (spruce) panel
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/2120
Profile of a Gypsy Woman 1500-1525 (Renaissance) This panel was originally installed along the upper wall of a room, perhaps a study or reception room, where it would have been joined by other panels identical in format and similar in subject in that they normally depict attractive young women and sometimes men in profile. This type of decoration was common in palaces in the north Italian region of Lombardy in the late 15th and early 16th century. Though the figures in these panels might initially look like portraits, they were often intended to be generic—simple representations of men and women from varying social classes and origins. This woman, with her loose hair, striped shirt and checkered bonnet, appears to be a gypsy. The inclusion of a figure from an outsider group is highly unusual and there is likely some story behind it.
Painted surface H: 16 5/8 x W: 14 5/8 x D excluding cradle: 5/16 in. (42.2 x 37.2 x 0.8 cm)
medium: tempera on wood (spruce) panel
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/2120
Profile of a Gypsy Woman 1500-1525 (Renaissance) This panel was originally installed along the upper wall of a room, perhaps a study or reception room, where it would have been joined by other panels identical in format and similar in subject in that they normally depict attractive young women and sometimes men in profile. This type of decoration was common in palaces in the north Italian region of Lombardy in the late 15th and early 16th century. Though the figures in these panels might initially look like portraits, they were often intended to be generic—simple representations of men and women from varying social classes and origins. This woman, with her loose hair, striped shirt and checkered bonnet, appears to be a gypsy. The inclusion of a figure from an outsider group is highly unusual and there is likely some story behind it.
Painted surface H: 16 5/8 x W: 14 5/8 x D excluding cradle: 5/16 in. (42.2 x 37.2 x 0.8 cm)
medium: tempera on wood (spruce) panel
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/2120
Today's Hot Pepper Haul The peppers in the front are Red Scotch Bonnet. Those in the back are Habanero. Those on the right are Carolina Reaper.
DENIS Maurice 1909 Plage au bonnet rouge Maurice DENIS
(1870-1943)
Plage au bonnet rouge
1909
Huile sur toile, 95 x 125 cm
Ancienne collection Eugène Boch
Saint-Germain-en-Laye, Musée départemental Maurice Denis
Sur la plage ensoleillée de Perros-Guirec, les deux filles du peintre, la petite Madeleine entourant le cou de sa grande sœur Noële, et son modèle habituel, Alphonsine, rayonnent de jeunesse et de santé. Reflet du bonheur d'étés passés par Maurice Denis avec sa famille en Bretagne, la toile est inondée de lumière.
Cette vision s'appuie sur une composition soigneusement étudiée et une utilisation vigoureuse des couleurs. Le groupe central, accompagné de figures et silhouettes plus lointaines, s'inscrit dans un espace organisé en bandes parallèles où le sable, les galets et les vagues se superposent jusqu'en haut du tableau. Les jaunes, les roses, les bleus miroitent dans la lumière et diffusent une impression de chaleur. Les ombres bleu vif et les taches de rouge contrastent harmonieusement avec ces nuances.
www.musee-mauricedenis.fr/IMG/article_PDF/article_a57.pdf
Exposition "Anna Boch, un voyage impressionniste" au musée de Pont-Aven, printemps 2024