Rua Marconi, São Paulo, Brasil

Rua Marconi, São Paulo, Brasil
São Paulo - SP
Foto Postal Colombo N. 73
Fotografia - Cartão Postal

Dodge Charger SE 1973, Estados Unidos

Dodge Charger SE 1973, Estados Unidos
Motor: 400 CI
Exterior: Amarelo (Top Banana)
Interior: Preto
Fotografia

Highly original with one repaint in the factory color

Documented with the broadcast sheet

Top Banana with Black vinyl top and interior

400 CI Magnum V-8 engine

TorqueFlite automatic transmission

Factory air conditioning

Rare heavy-duty suspension with sway bar

Power steering and brakes

Bucket seats with console

Rallye instrument cluster

Fender mounted turn signals

Dual racing mirrors

Dual exhaust with chrome tips

AM/FM radio

5-spoke road wheels

Goodyear Polyglas tires

Highly original and documented with the broadcast sheet, this beautiful factory big-block 1973 Dodge Charger SE could be considered the next big thing for muscle car collectors. The Dodge Charger established a reputation from day one in 1966, and despite the loss of the Hemi engine and R/T vehicle package, these midsize cars continued to define American performance style in the years after 1971. Indeed, the 1973 body was little changed from the ’71 release, and, by this time, was best-known in STP red, white and blue thanks to Richard Petty’s winning efforts on the NASCAR circuit. Unlike a majority of its peers from 1973, this is a big-block Dodge, equipped from the factory with the 400 CI Magnum V-8 engine, which had superseded the smaller 383 CI example used in prior model seasons. Here the original matching-numbers 400 CI V-8 sits in the unrestored engine compartment and is backed by a TorqueFlite A727 automatic transmission. Among the optional equipment here is factory air conditioning, with vehicle handling assisted by the rare heavy-duty suspension featuring the sway bar and both power steering and brakes. With one repaint in the factory color, Top Banana Yellow, there is stunning contrast in its appearance thanks to the original black vinyl top and interior. Inside are bucket seats, a center console with shifter, and the Rallye instrument cluster. An AM/FM radio is also in the dash. Outside are the fender-mounted turn signal indicators, dual racing mirrors, dual exhaust with chrome tips, Charger chrome emblems and the sort of aggressive overall stance you would have expected when you purchased this model. The final touches are the 5-spoke road wheels and Goodyear Polyglas tires, completing the look of class. Due to their big-block engines, most such-equipped cars were modified as street machines during the following years, and it is unique to see one unmodified. New for 1973 was the rubber-isolated suspension and k-member setup, which helped transform the Charger from a brutish muscle car into more of a refined touring car. According to Tim Wellborn, the 1973-74 Chargers are some of the best driving cars of the era. The combination of a bright factory color scheme, big-block engine, air conditioning and SE-level trim further enhances its desirability both now and into the future.

Ford Mustang K-Code 1965, Estados Unidos

Ford Mustang K-Code 1965, Estados Unidos
Motor: 289/271 HP
Exterior: Vermelho (Rangoon Red)
Interior: Branco
Fotografia

Factory 1964 1/2 K-Code Mustang Coupe, 1 of an estimated 90 produced

Five-year concours restoration using NOS parts completed in 2017

Original sheet metal

Proper overspray and Red oxide primer

Factory markings and VIN stamps intact

Balanced and blueprinted HiPo 289/271 HP V-8 solid lifter engine

HiPo exclusive larger generator pulley

Very rare NOS 1964 1/2 muffler

5 bolt main and bellhousing

Original generator

Toploader 4-speed manual transmission

9 inch rear end

Front disc brakes

Unique 1964 1/2 components including hood, in-frame horn, transverse muffler, radiator support and trunk mat

Rangoon Red with White standard interior

Factory radio delete

Dual Redline tires

NOS hubcaps

When the 1965 Mustang was introduced on April 17, 1964, conspicuously missing from the drivetrain lineup was the 289/271 HP High Performance engine that had debuted in the 1963 Fairlane. However, in June 1964, Ford announced the 289 HiPo as an option for the Mustang. In production only three months before the start of the regular 1965 model year, these “1964½” 289 High Performance cars are considered among the rarest of K-code Mustangs. This Rangoon Red HiPo hardtop is fresh from a five-year concours restoration that was completed in 2017 using NOS parts. The rare K-code Mustang retains much of its factory originality, including the sheet metal, intact VIN stampings, radio delete and generator with larger HiPo-only pulley. The detailed restoration included factory markings, undercarriage with red-oxide primer and proper overspray, very rare 1964½ NOS transverse muffler, NOS hubcaps and dual redline tires. Balanced and blueprinted during the engine rebuild, the K-code 289 differs from the standard 289 with its solid-lifter cam, unique cylinder heads, Autolite 4-barrel carburetor, dual-point distributor and free-flowing exhaust manifolds. Externally, the 289 High Performance is identified by chrome valve covers and the open-element air cleaner. The only exterior identification is a checkered-flag “High Performance” plate added to the 289 emblems on the front fenders. The hardtop is also equipped with its mandatory HiPo equipment, including the 4-speed transmission, 9-inch rear end, Special Handling Suspension and front disc brakes. As a 1964½ model, the hardtop has a number of early production characteristics, including unrolled hood edges, louvered radiator support, trunk mat and the generator charging system that required larger horns and a “Generator” warning light. Equipped with a two-tone red and white interior, this early production hardtop is one of very few produced with the K-code 289 High Performance engine during the Mustang’s early “1964½” production cycle.

Porsche 911 GT3 RS 2016, Alemanha

Porsche 911 GT3 RS 2016, Alemanha
Fotografia

Carbon fiber reinforced plastic trunk, engine compartment and rear wing

Lightweight glass rear screen and rear side windows

Magnesium roof

Titanium rear silencer

4.0L/500 HP flat 6-cylinder engine

PDK automatic transmission

White exterior

Black Alcantara interior with contrasting GT Silver accents

Porsche Communication Management including Navigation module

Sound Package Plus

Sirius XM satellite radio receiver

Dual zone climate control

Fire extinguisher

Luggage net in passenger footwell

Extended range 23.9 gallon fuel tank

Sport Chrono Porsche Track precision app

20-inch GT3 RS wheels

The Porsche 911 GT3 has always blurred the line between street-car and race-car by offering a street-legal automobile that delivers race-car capability in terms of acceleration, handling, braking and high-speed stability. This gorgeous 2016 Porsche 911 GT3 RS is presented with a white exterior with matte-finish, Titanium-colored 20-inch center-lock wheels and fitted with carbon-fiber reinforced trunk, engine compartment and rear wing. The interior is appointed in black Alcantara with deviating silver stitching and carbon-fiber accents on the dashboard. Equipped with PDK transmission, carbon-ceramic disc brakes, limited-slip differential and active suspension, it is also heavily optioned with dual-zone air conditioning, a fire extinguisher, Porsche Communication Management, Sirius XM Satellite radio capability, Sound Package Plus and Sport Chrono package. Built as a follow-up to the already successful Porsche 911 GT3 991.1, the RS variant first appeared in 2016. Although built with many of the same parts and pieces of the GT3, the GT3 RS is a significantly different car with a more powerful 500 HP engine realized from a displacement increase from 3.8 to 4.0L. However, the most obvious difference was the new body shell sourced from the 911 Turbo that provided major opportunities for aerodynamic and mechanical improvements. The wider rear fenders allow for an increased rear track, the rear fender side scoops serve as “ram-air” conduits to the naturally aspirated engine, the front fenders have vents that serve to evacuate high pressure build-up in the front wheel-well housing, the front splitter is fenced along its vertical leading edge to properly direct air-flow, and the prominent adjustable rear wing mounted on the rear decklid provides massive downforce. The cumulative effect of these changes doubled the aerodynamic downforce of the RS over that of the standard GT3, delivering a substantial increase to high-speed stability and grip.

Ninho de Beija-Flor, Paisagem Brasileira, Brasil (Nesting Hummingbirds, Brazilian Landscape) - Martin Johnson Heade

Ninho de Beija-Flor, Paisagem Brasileira, Brasil (Nesting Hummingbirds, Brazilian Landscape) - Martin Johnson Heade
Brasil
Coleção privada
OST - 50x30 - Circa 1870-1873

In 1863, celebrated landscape and still-life painter Martin Johnson Heade traveled to South America, following in the footsteps of fellow painter Frederic Edwin Church and inspired by the successful publications of artist-ornithologists John James Audubon and John Gould. At the time, an article in the Boston Transcript declared, “It is his intention in Brazil to depict the richest and most brilliant of the hummingbird family--about which he is so great an enthusiast--…He is only fulfilling the dream of his boyhood in doing so.” (as quoted in J.L. Comey, “The Gems of Brazil,” Martin Johnson Heade, Boston, Massachusetts, 1999, p. 71) Indeed, Heade was fascinated with tropical flora and fauna, studying and painting hummingbirds in Brazil between 1863 and 1865 and making subsequent trips to Nicaragua in 1866 and Colombia, Panama and Jamaica in 1870. As in his best works resulting from these explorations, Nesting Hummingbirds, Brazilian Landscape not only demonstrates Heade’s deep knowledge gained during these travels through tropical lands, but also evokes the artist’s life-long wonderment and awe for the mysterious, teeming jungles of South America and their wildlife gems.
Heade's early attraction to the mystical hummingbird had astounding ramifications for his artistic career, and he diligently studied the species in order to perfectly capture its miniature magnificence. "Somehow the beauty and lightening speed of this tiny, brilliant flower of the air so impressed him, as later to create within him the strongest urge to investigate its habits, and perpetuate on canvas its fleeting beauty, and exquisite iridescence." (R.C. McIntyre, Martin Johnson Heade, New York, 1948, p. 12) In Nesting Hummingbirds, Brazilian Landscape, the artist painstakingly represents the unique coloring and features of a pair of crimson topaz (Topaza pella), which are the largest species of hummingbird native to Brazil. The male resting on the higher branch is recognizable from the pair of longer tail feathers dangling below his perch, and the bird's striking hot pink feathers and acid yellow-green throat dazzle amidst the gray-green landscape. Janet L. Comey explains of the artist’s technical efforts toward accuracy, “Heade took particular care in portraying the iridescent quality of hummingbirds’ plumage. He applied paint in many layers, and to convey the shimmering quality of the feathers on the throat, cap, or breast, he used a thin glaze of natural rose madder, a red dye derived from the madder root, over a white, reflective, textured underlayer.” (J.L. Comey, “The Gems of Brazil,” Martin Johnson Heade, Boston, Massachusetts, 1999, p. 74)
Heade’s paintings of hummingbirds are so extraordinary because they are not in actuality completely accurate recordings of nature; rather, they are articulate combinations of scientific detail and artistic license that uniquely capture the natural beauty of these distant lands. Accordingly, here Heade has picturesquely placed his two hummingbird subjects, with the female tending the nest while its mate looks out and guards from upon the branch directly above. These charming postures make for a beautiful and sentimental composition, but Heade scholar Theodore E. Stebbins, Jr. explains that this unlikely posing "increasingly dismayed ornithologists, who pointed out that birds are not only difficult to see (being almost always in motion, with a wingbeat of up to 200 per second), but that male and female are almost never found together, particularly around the nest. Nevertheless, Heade's scenes communicate a sense of domestic felicity and quiet.” (The Life and Works of Martin Johnson Heade, New Haven, Connecticut, pp. 133-34) In Nesting Hummingbirds, Brazilian Landscape, the artist emphasizes the foreground scene, framing the niche using tree branches as repoussoir devices and contrasting the bright colors of the birds and red-spotted leaves in the foreground with the hazy purple hues of the background mountain vista; the rich greens of the forest and the misty gray atmospheric perspective create a sense of the vibrancy and fecundity of the natural environment.
Unlike his more scientifically oriented predecessors Audubon and Gould, in works such as Nesting Hummingbirds, Brazilian Landscape, Heade captures both the nineteenth-century, Darwinian fascination with cataloguing the natural world as well as the Victorian awareness of the latent, transcendent power of nature. “In all of the work of his artistic maturity, Heade was a romantic masquerading as a realist. He studied the hummingbirds, the orchids, and the passionflowers with the eye of a naturalist, just as he sketched the landscapes of the Northeast, Florida and Brazil using the methods of the topographical painter. Yet in each genre, the paintings have more to do with memory than with fact; they speak less to keenness of observation than to the richness of the painter’s imagination.” (T.E. Stebbins, Jr., Martin Johnson Heade, Boston, Massachusetts, 1999, p. 9)

Nota do blog: Vendida em leilão da Christie’s por USD 1,745,000.