terça-feira, 1 de outubro de 2019

Oldsmobile Limited Prototype 1908, Estados Unidos




































Oldsmobile Limited Prototype 1908, Estados Unidos
Fotografia


THE OLDSMOBILE LIMITED: KING OF THE BRASS ERA
The Limited, as one historian put it, was not your father’s Oldsmobile, unless your father happened to be a Carnegie or a Vanderbilt. It has been called the most prestigious Oldsmobile of its era, but in reality it was the most prestigious car ever built under the name—a true world-beating luxury car developed to challenge Packard, Peerless, and Pierce-Arrow, then the “Three Ps” that signified the height of American motoring.
It was the latest evolution of an Olds that, in the Brass Era, had grown increasingly larger, more powerful, and bolder. In its initial 1910 form, it was based upon the prior Model Z, with the same 130-inch-wheelbase chassis and 505-cubic-inch, 60-horsepower T-head six-cylinder engine. Already, however, it had gained the stature that would make it famous, thanks to immense 42-inch wheels, among the largest fitted to any production automobile, making the Limited literally tower above its brethren.
The Limited was beautifully engineered and exquisitely built, but Oldsmobile soon saw the writing on the wall that less expensive models were the way of the future. It was produced for only three seasons, 1910 through 1912, and afterward Olds models grew progressively more modest, returning to the company’s roots.
Today the Limited is exactly that. Only thirteen examples have survived: a pair of 1910s, ten 1911s, and a single 1912, in addition to the early prototype offered here. Of this group, the vast majority are in either museums—including the Nethercutt Collection, and General Motors’ own Heritage Collection—or in long-term private ownership.
THE LIMITED PROTOTYPE
The example offered here is recognized as having been one of the two Model Z–based 1908 Limited prototypes and is the only one of these known extant today. According to the recollections of Mr. Pollard’s son, it seems to have been sold “out the back door” of General Motors to Barney Pollard via a well-connected friend. Mr. Pollard was one of the most famous names in early American collecting—and we do mean early, as he began gathering significant automobiles in the 1930s. He filled several Detroit warehouses with his finds, eventually stacking them on end and hanging others from the ceiling to maximize the use of space. To facilitate his vertical storage, many of the automobiles had their original bodies removed, and such appears to have been the case with this fascinating Oldsmobile. In this form the car was registered to Mr. Pollard by its engine number in 1978 and was eventually united with a later touring car body during its time in his collection.
The Limited was eventually acquired from a friend of the Pollard family by Ron Carey and Bob Sullivan of Washington State, who undertook a comprehensive full restoration at the hands of respected craftsman Allan Schmidt’s Horseless Carriage Restorations in Escondido, California. Unfortunately, the Pollard body, removed for restoration, was caught in one of the Southern California wildfires and destroyed. The coachwork was thus replaced with the present body, a design based upon the best features of other large Oldsmobiles of the era. These include an externally braced top with isinglass windscreen and “flying”-style fenders. The Limited reportedly retained all of its original mechanical components, including the engine, transmission, suspension, steering, and brakes, and was fitted with correct magneto and carburetor.
The completed restoration was shown to much acclaim, including at the Kirkland Concours d’Elegance in 2010, where it received the Children’s Hospital Award for its rarity and general level of restoration. A year later it was acquired for the Muckel Collection, where it has continued to be well maintained in beautiful overall condition and treasured for its significance.
There are very few extant examples of the Olds Limited, one of the premier American automobiles of its time—unparalleled in size, power, and craftsmanship. None can match the flamboyance of this car, the sole surviving original 1908 prototype for the model, magnificently restored.
In 1908, Oldsmobile set their sights on creating a world-class luxury car to challenge America’s most prestigious manufacturers of the era: Packard, Peerless, and Pierce-Arrow. Oldsmobile models had been growing steadily in the Brass Era since 1899, when Olds Motor Vehicle and Olds Gasoline Engine Works of Lansing merged to form the marque. Each model grew in stature and power, with each design bolder than the last. The Limited was soon to become the crowning achievement of their efforts as the largest and most opulent model to ever wear the Oldsmobile name. This example is one of only thirteen Limiteds to remain in existence today and is the sole surviving example of the two 1908 prototypes.
No other Brass Era car is as large or impressive as the Limited, and the few examples remaining are among the most significant artifacts of early American motoring.
The Limited’s name was selected because of the amount of time required to produce each model, resulting in very limited quantities and a price tag ranging from $4,600–$5,800. Oldsmobile’s records indicate that, in its short three-year production span, a total of 325 were completed for 1910, 196 in 1911, and only 117 in 1912. Only two prototypes were completed, based on the 1908 Model Z—Oldsmobile’s flagship touring model at the time. Today only thirteen examples remain in existence: a pair of 1910s, ten 1911s, and a single 1912 model, as well as the early prototype offered here.
The Limited’s wheels measure 42 inches, among the largest ever to be fitted to a production automobile. Its tremendous wheels and tires were fitted to the Model Z’s 130-inch-wheelbase chassis with longitudinal leaf springs and live front and rear axles, giving the Limited the imposing stature that it would become famous for, literally towering above the rest.
Beneath the hood is the 453-cubic-inch T-head six-cylinder inline engine capable of producing 60 horsepower, allowing the Limited to easily reach speeds of 70 mph. Power is driven through a three-speed manual gearbox and is brought to a halt by an expanding rear-wheel hand brake and external contracting on the rear wheels.
Amazingly, the Limited retained all its original mechanical components. The engine, transmission, suspension, steering, and brakes, as well as the correct magneto and carburetor that were fitted, are all believed to be original to the vehicle.
The Oldsmobile Limited was built with the open road in mind—large, fast, and well equipped for long journeys. Their unparalleled quality and craftsmanship have allowed the surviving examples to be reliable enough to effortlessly conquer 1,000-mile tours. This example, courtesy of its magnificent restoration, will be a fine candidate for both the show field and for any Brass Era touring event.


Fonte: https://rmsothebys.com/en/auctions/hf19/hershey/lots/r0152-1908-oldsmobile-limited-prototype/797163

segunda-feira, 30 de setembro de 2019

Vista do Centro, Avenida São João e Vale do Anhangabaú, 1950, São Paulo, Brasil

Vista do Centro, Avenida São João e Vale do Anhangabaú, 1950, São Paulo, Brasil
São Paulo - SP
Produzida pela Empresa Nacional de Fotografias Aéreas
Fotografia


Cartaz "Hitler Will Send No Warning, So Always Carry Your Gas Mask", Inglaterra

Cartaz "Hitler Will Send No Warning, So Always Carry Your Gas Mask", Inglaterra
Editado pelo Ministry of Home Security
Propaganda de Guerra - 1939-1945
Cartaz / Poster


Horto Florestal, São Paulo, Brasil

Horto Florestal, São Paulo, Brasil
São Paulo - SP
F770
Fotografia - Cartão Postal

Copacabana, Rio de Janeiro, Brasil

Copacabana, Rio de Janeiro, Brasil
Rio de Janeiro - RJ
N. 52
Fotografia - Cartão Postal

Hotel Quitandinha, Petrópolis, Rio de Janeiro, Brasil

Hotel Quitandinha, Petrópolis, Rio de Janeiro, Brasil
Petrópolis - RJ
Foto Postal Colombo N. 19
Fotografia - Cartão Postal

Vista Geral da Praia, Guarujá, São Paulo, Brasil

Vista Geral da Praia, Guarujá, São Paulo, Brasil
Guarujá - SP
N. 25
Fotografia - Cartão Postal

Cartão Postal, Rio de Janeiro, Brasil (Cartão Postal) - Tarsila do Amaral

Cartão Postal, Rio de Janeiro, Brasil (Cartão Postal) - Tarsila do Amaral
Rio de Janeiro - RJ
Coleção privada
OST - 127x142 - 1929


O estilo de pintura ousado, colorido e original de Tarsila do Amaral, evidente na obra “Cartão postal”, fez dela uma líder no movimento de arte moderna do Brasil. Ela era membro do Grupo dos Cinco, que incluiu outros quatro artistas brasileiros que influenciaram fortemente a cena artística do país no início do século XX. “Cartão postal” mostra a cidade do Rio de Janeiro circundada pela sua paisagem verdejante e montanhosa. Em primeiro plano, um macaco reclina-se na copa de uma árvore, enquanto colinas despontam a partir do horizonte, à distância. Tarsila passou a moldar a compreensão popular sobre a cultura e a identidade brasileiras, pintando as pessoas do país e as paisagens habitadas por elas.
A composição Cartão Postal, obra da artista brasileira Tarsila do Amaral, retrata a cidade do Rio de Janeiro, nosso mais belo cartão postal, cantada em verso e prosa em todo o mundo. O macaco presente na pintura, com um filhote nas costas, é um bicho antropofágico, que simboliza a antropofagia do Movimento do qual participava a pintora.
A obra Cartão Postal faz parte da Fase Antropofágica da pintora, considerada a mais importante de sua carreira. Dessa fase também são as obras Abaporu (1928), O Lago (1928), O Ovo (1928), A Lua (1928) e Antropofagia (1929).
O movimento antropofágico foi liderado por seu marido à época, Oswald de Andrade, e iniciado com o quadro Abaporu da pintora, já visto no blog. O objetivo desse movimento era apreender a arte estrangeira, principalmente a europeia, degluti-la e dessa pasta, criar uma arte que fosse o mais brasileira possível.

O Almoço dos Barqueiros, Chatou, França (Le Déjeuner des Canotiers) - Pierre Auguste Renoir

O Almoço dos Barqueiros, Chatou, França (Le Déjeuner des Canotiers) - Pierre Auguste Renoir
Chatou - França
Phillips Collection Washington D.C. Estados Unidos
OST - 130x175 - 1880-1881

O Almoço dos Barqueiros (Le Déjeuner des canotiers) é uma pintura a óleo sobre tela do pintor impressionista francês Pierre-Auguste Renoir realizada entre 1880 e 1881.
Incluída na 7ª Exibição Impressionista em 1882, foi apontada como a melhor pintura na exposição por três críticos. A pintura foi comprada a Renoir por Paul Durand-Ruel, e adquirida em 1923 (por 125 000 USD) pelo seu filho a Duncan Phillips. Encontra-se na Coleção Phillips em Washington, D.C.
A figura, que combinam com a natureza-morta e paisagem num mesmo trabalho, mostra um grupo de amigos de Renoir a relaxar numa varanda da Maison Fournaise, ao longo do rio Sena, em ChatouFrança. O pintor e patrono das artes, Gustave Caillebotte, está sentado em baixo à direita. A futura esposa de Renoir, Aline Charigot, encontra-se no primeiro plano a brincar com um pequeno cão. Nas mesas estão frutas e vinho.
A diagonal do corrimão serve para separar as duas metades da composição, uma onde se encontram muitas pessoas, e a outra quase vazia, exceto as figuras da filha do dono da casa, Louise-Alphonsine Fournaise, e o seu irmão, Alphonse Fournaise, Jr, os quais foram retratados de forma proeminente pelo seu contraste. Nesta pintura, Renoir capta uma imensa quantidade de luz. O principal foco da luz vem da grande abertura da varanda, ao lado do homem com chapéu. As camisolas sem mangas de ambos os homens em primeiro plano, e a toalha de mesa, refletem conjuntamente a luz espalhando-a pela composição.
Shortly after confirming his purchase of The luncheon of the Boating Party, Duncan Phillips wrote an enthusiastic letter from Paris informing his treasurer of the acquisition: “The Phillips Memorial Gallery is to be the possessor of one of the greatest paintings in the world… It will do more good in arousing interest and support for (the Phillips Memorial Gallery) than all the rest of our collection put together. Such a picture creates a sensation wherever it goes.” In an affirmation of Phillips’s foresight, these statements have proved themselves correct. The Luncheon of the Boating Party is undoubtedly among the most visited, commented upon, and memorable paintings in The Phillips Collection. Most of the models, all friends of the artist, have been identified. In the right foreground, Angèle, one of Renoir’s frequent models, turns her head toward the standing Maggiolo, a journalist. The painter Gustave Caillebotte sits backward in his chair and stares across the table at Aline Charigot, Renoir’s future wife, who coos at her terrier, while the burly Alphonse Fournaise Jr., son of the restaurant’s owner, leans against the balcony’s railing surveying the scene. In the center, Baron Raoul Barbier, a former cavalry officer, is seated with his back to the viewer speaking to the woman resting on her elbows on the railing, who is thought to be Alphonsine Fournaise, the daughter of the proprietor. Across the table from Barbier is the actress Ellen Andrée, drinking from a glass. Behind her, the top-hatted Charles Ephrussi, a banker and editor of Gazette des beaux-arts, chats with Jules Laforgue, poet, critic, and Ephrussi’s personal secretary. In the upper right, Eugène Pierre Lestringuez, an official in the Ministry of the Interior, laughs with Jeanne Samary, a famous actress with the Comédie Française, while the artist Paul Lhote, a close friend of Renoir’s, cocks his head. Renoir has immortalized his friends to such a degree that the image is “not anectdotal but monumental.” Marjorie Phillips was inspired to write: “In the light of time it does not matter much who the figures are. They are every man, all people.” The masterpiece is a very tightly composed work, uniting within one image the time-honored compositional traditions of figure painting, still life and landscape. Hailed as “one of the most famous French paintings of modern times” when it was first exhibited, The Luncheon of the Boating Party was flanked by Alfred Sisley’s Snow at Louveciennes and Banks of the Seine at the Phillips Memorial Gallery in December 1923. At the time, Phillips had intentions of forming a unit of Renoir’s works; however, as the painting came to serve its purpose as a magnet attracting to the museum “pilgrims to pay homage from all
over the civilized world,” Phillips realized that The Luncheon of the Boating Party was the only major work by the artist that he would need.
Renoir foi um dos principais integrantes do Impressionismo, sendo sua composição O Almoço dos Remadores a sua última grande obra no estilo, antes de buscar novos caminhos na pintura.
Na composição, o pintor retrata um almoço, num dia de feriado, no terraço do restaurante francês La Fournaise, nas margens do rio Sena, em Chatou, num dia quente de verão. A maioria dos modelos ali presentes são seus amigos e clientes habituais do lugar, todos muito jovens. Este quadro tornou-se um dos mais importantes do movimento impressionista.
Embora haja quatorze figuras na cena, são os dois barqueiros o eixo central da composição, não só pela robustez de seus corpos musculosos, como pelo tipo de roupa que usam, contrastando com os demais. Eles, ao contrário dos outros, usam camisetas brancas, deixando braços e pescoço nus. À época, a moral burguesa exigia que todo o corpo estivesse coberto, sendo que os braços nus dos atletas poderiam trazer constrangimento às mulheres, o que não parece ocorrer com as da composição.
Todas as cinco garotas presentes na mesa usam chapéus, pois esses eram, à época, o símbolo da respeitabilidade e de status social. As mais pobres têm os chapéus adornados de flores e fitas, ornados por elas mesmas. Ao fundo, uma mulher, ricamente vestida com seu casaco de pele e usando luvas, tapa os ouvidos, para não escutar os elogios dos dois fãs.
O terraço está fechado por uma balaustrada, e finas estruturas de metal suportam o toldo de listras vermelhas, que o cobre. Uma garota apoia-se despreocupadamente na balaustrada, enquanto ouve atentamente o personagem à sua frente. No parapeito também se encosta um dos barqueiros, numa atitude de ausência, parecendo mirar ao longe. Alguns personagens estão assentados ao redor de duas mesas, enquanto outros encontram-se ao fundo, no lado esquerdo da composição. Uma moça (futura esposa de Renoir) tem um cãozinho nos braços, que traz suas patinhas traseiras sobre a mesa.
Ao fundo, entre as ramagens, na parte superior esquerda da composição, algumas embarcações podem ser vislumbradas, deslizando sobre as águas do rio Sena. Observando os objetos nas mesas, é possível concluir que o almoço está chegando ao fim, ou seja, os remadores e seus amigos acabam de comer. Renoir mostra aqui sua perícia em pintar naturezas-mortas, ao representar os restos da refeição. Sobre a toalha branca da mesa, em primeiro plano, encontram-se um guardanapo amassado, uma fruteira, um pequeno barril de conhaque, garrafas de vinho semi-cheias e diversos tipos de copos: grandes para o vinho tinto, altos para o café, pequenos para conhaques e licores.


O Baile no Moulin de la Galette, Versão Menor, Paris, França (Bal du Moulin de la Galette) - Pierre Auguste Renoir


O Baile no Moulin de la Galette, Versão Menor, Paris, França (Bal du Moulin de la Galette) - Pierre Auguste Renoir
Paris - França
Coleção privada
OST - 78x114 - 1876



Renoir painted a smaller version of the picture (78×114 cm) with the same title. The painting is now believed to be in a private collection in Switzerland. Apart from their size, the two paintings are virtually identical, although the smaller is painted in a more fluid manner than the d'Orsay version. One is presumably a copy of the original, but it is not known which is the original. It is not even known which was the one first exhibited at the 3rd Impressionist exhibition of 1877, because although the painting was catalogued and given favourable attention by critics, its entry did not indicate the size of the painting, information that would serve to identify it.
For many years it was owned by John Hay Whitney. On May 17, 1990, his widow sold the painting for US$78 million at Sotheby's in New York City to Ryoei Saito (Saitō Ryōei), the honorary chairman of Daishowa Paper Manufacturing Company, Japan.
At the time of sale, it was one of the top two most expensive artworks ever sold, together with van Gogh's Portrait of Dr. Gachet, which was also purchased by Saito. Saito caused international outrage when he suggested in 1991 that he intended to cremate both paintings with him when he died. However, when Saito and his companies ran into severe financial difficulties, bankers who held the painting as collateral for loans arranged a confidential sale through Sotheby's to an undisclosed buyer. Although not known for certain, the painting is believed to be in the hands of a Swiss collector.
As of January 2013 the Bal du moulin de la Galette is sixth (when adjusted for the consumer price index) on the list of most expensive paintings ever sold.
Histórico de proprietários do quadro:
1-) Victor Chocquet, Paris
2-) Mme Victor Chocquet (sale: Paris, Galerie Georges Petit, July 1, 3-4, 1899, no. 88, sold for 10,500 francs)
3-) Bernheim-Jeune, Paris
4-) Prince de Wagram, Paris
5-) Etienne Bignou, Paris, Reid and Lefevre, London and Knoedler & Co., New York (purchased from the above for £30,706)
6-) John Hay Whitney, New York (acquired from the above on 5 December 1929)
7-) Sotheby's sale, New York, 17 May 1990 (acquired by Ryoei Saito for US$78.1 million)
8-)? Private collection, Switzerland
This scan is from the Sotheby's sale catalogue 17 May 1990. The original was a fold-out with a central crease. The left and right portions were scanned separately and then stitched. The fold line runs just to the right of the central figure's left cheek. A strip 12 pixels wide corresponding to this crease was cropped out. The registration of the two pieces is not completely perfect.