Estudo N. 1 para Crepúsculo (Study #1 for Twilight) - James Doolin

Estudo N. 1 para Crepúsculo (Study #1 for Twilight) - James Doolin
Coleção privada
OST - 17x22 - 1999

Bugatti Veyron 16.4 2008, França

Bugatti Veyron 16.4 2008, França
Fotografia

The Bugatti Veyron will long be remembered as a benchmark in supercar design, as a model that not only established itself as the world’s fastest production car, but also resuscitated one of the most legendary performance brands. In 1998 the Volkswagen Group acquired the rights to the defunct Bugatti, the once family-owned-and-managed concern that had built and raced some of history’s most successful and beautiful sports cars.

VW was redefining itself as one of the premier automotive companies in the world, having recently also bought Lamborghini and Bentley, and already owning Audi, which would go on to win the 24 Hours of Le Mans 13 times in 15 years (not including Bentley’s victory in 2003). With so much technical expertise at its disposal, the acquisition of Bugatti portended momentous developments, and the Alsatian company was positioned as the luxury and performance flagship of VW’s portfolio.

The development of its first car was to take several years of gestation, however, as Bugatti built three concept cars equipped with a W-18 engine. This engine also found its way into the early concept version of the Veyron, which was named for the successful pre-war racing driver Pierre Veyron, and was unveiled at the Tokyo Motor Show in late 1999. Almost a year later, the Veyron was introduced in its essential production form at the 2000 Paris Salon, now featuring an 8-liter W-16 engine.

The new W-16 was essentially two V-8s placed contiguously, sharing a common crankcase. With 64 valves and four intercooled turbochargers, the impressive engine developed a whopping 1,001 hp at 6,000 rpm. The W-16 also produced 922 foot-pounds of torque available as low as 2,200 rpm, providing an astonishing amount of power at the drop of a hat. Despite the Veyron’s curb weight of 4,163 pounds, these numbers were sufficient to propel the car to 60 mph from standstill in a mere 2.5 seconds, and to a top speed of 250 mph, which established a speed record for a production automobile.

The stopping power was just as impressive, as the Veyron was anchored by massive carbon-ceramic disc brakes with 15.7-inch discs and eight-piston, four-pad calipers up front, while 15-inch discs with six-piston, two-pad calipers were equipped at the rear. With so much power and weight, traction became an immediate concern, so the Veyron was accordingly equipped with all-wheel drive administered by a seven-speed dual-clutch paddle-shift transmission. The alloy wheels, which were respectively 20 and 21 inches at the front and rear, were shod with special purpose-designed Michelin Pilot Sport PS2 PAX run-flat tires that provided superior grip.

The array of technology extended to three different drive modes: a Normal mode, at which the ride height was 4.9 inches; a Handling mode that deployed the rear spoiler and lowered ride height to 3.15 inches; and a special key-activated High-Speed mode that dropped ride height to 2.56 inches in front and 2.75 at the rear, while changing the spoiler position. Despite having been engineered for performance, the Veyron equally prioritized luxurious comfort, as proven by a leather-appointed interior offset by a center console of machine-turned metal, in a nod to the interiors of the classic pre-war Bugattis. The instrument panel was dominated by a large central speedometer that was flanked by a gauge measuring horsepower output.

Only 450 Veyrons were produced during 11 years of production, with 300 fixed-roof coupes, including 178 examples built to the original 16.4 production configuration. A luminary model by any reckoning, the Veyron 16.4 is prized by supercar aficionados and Bugatti purists alike, and the small quantity of cars have generally found themselves as the centerpieces of important collections.

Veyron no. 066, the 20th example built for the U.S., was finished in a classic scheme of silver metallic over bright silver and upholstered in a very rare two-tone combination of Silk leather with Anthracite accents. The showroom-quality Bugatti benefits from the fastidious care of just one California-based private owner through the course of its life, having accrued only 720 miles. In late 2018 the car received a fluid service and new tires, as reflected by an invoice totaling over $51,000. A rare and minimally driven example, this beautifully preserved Veyron would make a sensational addition to the world’s finest collections.

Packard Custom Eight Opera Coupe 1929, Estados Unidos

Packard Custom Eight Opera Coupe 1929, Estados Unidos
Fotografia

A standout of Packard’s stellar Sixth Series of 1929, the 640 Custom Eights were among the most attractive and imposing automobiles of the Classic Era. They were aggressively elegant, with long hoods, sweeping fenders, and large oval-backed headlights, a one-year-only feature on Packards. Such standout design features were found throughout the car, from bright molding around the cowl to a drop molding along the beltline that could be accented with a contrasting color decor panel. Powered by a seven-main-bearing, 385-cubic-inch straight eight with a rigid one-piece cylinder block casting, it was quiet yet powerful, an ideal choice for those who prioritize luxury and performance above all else.

The Packard offered here is a beautifully restored example of the opera coupe body style on a Sixth Series Custom Eight. Built on the 640 chassis, this rare and unusual body style featured a more generous coupe configuration with a full and luxuriously appointed back seat. The driver’s seat is flanked by a small folding seat which enabled easy ingress to the back seat. It is thought that this body style was likely meant for a chauffeur and footman, with the primary occupants riding in the rear.

The Packard is attractively finished in dark maroon and black with black fenders. It rides on solid wheels finished with the correct pinstriping and wearing wide whitewall tires. Other options include dual side mounts and Packard trunk rack. Under the hood the Packard’s big straight eight is beautifully detailed, displaying the correct equipment, including vacuum tank, bronze Packard carburetor, and North East distributor. The intriguing interior is correct to original standards, fitted with the proper wool broadcloth and highly decorated with elaborate wood trim displaying idyllic romantic scenes in marquetry.

All things considered, this is a very well-loved Packard in excellent restored condition, complete with all its so-often-lost extras. A recent, complete mechanical inspection and service were completed by noted Packard restorer Robert Escalante of Custom Auto Service in Santa Ana, California. Included with the sale is a selection of documents which confirm the provenance of the automobile. Though exact production figures are not known, the Custom Eight opera coupe is rarely seen, making this an important opportunity for a dedicated enthusiast to add a superb Packard to their collection.

Austin-Healey 100-4 BN2 1956, Inglaterra

Austin-Healey 100-4 BN2 1956, Inglaterra
Fotografia

Marco de Meia Légua, São Paulo, Brasil

Marco de Meia Légua, São Paulo, Brasil
São Paulo - SP
Fotografia


Nas antigas cidades portuguesas e por extensão nas suas colônias, predominava o costume medieval do Rossio. As Câmaras das vilas e povoados quando elevados à categoria de cidade, recebiam, do Rei no caso de Portugal ou do Governador Geral no caso do Brasil, uma data de sesmaria de meia légua ao redor da casa da Câmara, da Sé, do Pelourinho, ou de outro ponto que servisse à demarcação do centro da comunidade. No caso de São Paulo, o Marco Zero, ficava instalado no Largo da Sé, próximo de onde está hoje o monumento construído em 1934. Estas terras passavam a pertencer à cidade e cabia à Câmara distribuí-las entre os que pretendiam se instalar, para negócios ou moradia.
Até mais ou menos o final do século 19, o Marco de Meia Légua que assinalava os limites do Rossio da cidade era bem conhecido. Na direção leste ficava na altura da rua Catumbi, próximo a atual Av. Celso Garcia, no Belenzinho. Na direção sul, o marco ficava na atual rua França Pinto, na Vila Mariana. Na direção sudeste, na atual rua Silva Bueno. No norte, em lugar incerto, próximo à rua Voluntários da Pátria.
Do marco mais conhecido no século 19, o do Belenzinho, não existe mais sinal conhecido, embora ele esteja registrado nas plantas antigas da cidade. Mas no Ipiranga e na Vila Mariana um pedestre atento pode ver na calçada antigos marcos de pedra ou cimento que assinalam os limites da jurisdição da Câmara Municipal de São Paulo estabelecidos em 25 de março de 1724. Na rua Silva Bueno fica o que está melhor conservado. Cercado por correntes na calçada é confundido pelos transeuntes como uma antiga lápide de algum túmulo esquecido. Não é. Ele assinala o limite antigo da cidade. Parece de fato um túmulo, mas é um registro sobrevivente da história da cidade.

Nota do blog: Data e autoria não obtidas.

Antigo Barracão do Departamento de Remo do São Paulo Futebol Clube, São Paulo, Brasil

Antigo Barracão do Departamento de Remo do São Paulo Futebol Clube, São Paulo, Brasil
São Paulo - SP
Fotografia

Nota do blog: Ficava onde atualmente é o Canindé, campo da Portuguesa.

Obras de Construção do Metrô na Praça da Sé, São Paulo, Brasil

Obras de Construção do Metrô na Praça da Sé, São Paulo, Brasil
São Paulo - SP
Fotografia

Vista a Partir de Rivera da Praça Internacional / Parque Internacional, 1962, Santana do Livramento / Rio Grande do Sul / Brasil e Rivera / Uruguai

Vista a Partir de Rivera da Praça Internacional / Parque Internacional, 1962, Santana do Livramento / Rio Grande do Sul / Brasil e Rivera / Uruguai
Santana do Livramento, Rio Grande do Sul, Brasil e Rivera, Uruguai
Fotografia - Cartão Postal

Praça Internacional / Parque Internacional, Santana do Livramento / Rio Grande do Sul / Brasil e Rivera / Uruguai

Praça Internacional / Parque Internacional, Santana do Livramento / Rio Grande do Sul / Brasil e Rivera / Uruguai
Santana do Livramento, Rio Grande do Sul, Brasil e Rivera, Uruguai
Fotografia - Cartão Postal

Praça Internacional / Parque Internacional, Santana do Livramento / Rio Grande do Sul / Brasil e Rivera / Uruguai

Praça Internacional / Parque Internacional, Santana do Livramento / Rio Grande do Sul / Brasil e Rivera / Uruguai
Santana do Livramento, Rio Grande do Sul, Brasil e Rivera, Uruguai
Fotografia - Cartão Postal