segunda-feira, 27 de janeiro de 2020

Duesenberg Model J Tourster 1932, Estados Unidos


















Duesenberg Model J Tourster 1932, Estados Unidos
Motor: 420 CI
Fotografia

Coachwork in the style of a Derham Tourster by Ted Billings
420 CI Straight 8 engine
3-speed manual transmission
Red exterior
Tan convertible top
Tan leather interior
Stewart Warner tachometer
Jaeger in-dash clock
Altimeter
150 MPH speedometer
In-dash brake adjustment lever with dry, rain, snow and ice settings
Duesenberg Straight 8 Indianapolis firewall badge
Polished side engine pipes
Dual horns
Duesenberg Model J decorative hood ornament
Chrome wire wheels
Wide Whitewall tires
By the time Errett Lobban Cord announced the extraordinary Duesenberg Model J, the company’s most valuable asset, Fred Duesenberg, was already a giant of the American automobile industry. The Model J took that reputation to new heights; at a time when Auburns sold for between $995 to $2,095, and Cord’s own L-29 peaked around $3,295, the Model J demanded more than $18,000 for openers and skyrocketed from there depending on customer specifications. The Model J was the most technically advanced car in America, and the most powerful by far. Its 265 HP was more than double that of its closest competitor, the 112 HP Chrysler Imperial 80. Its second-gear top speed of 90-plus MPH astonished even the most skeptical customers, who were also universally impressed with the Model J’s unwavering composure at speed. It was no surprise that the first bodies ordered by Duesenberg for the new Model J were designed and built by Derham Body Co. of Rosemont, Pennsylvania. Founded in 1887, Derham was unique, a family business purposely organized for utmost flexibility in meeting varying demands from private and corporate customers alike. Derham’s designs and coachwork so impressed E.L. Cord that he appointed family scion Phil Derham as head of Duesenberg’s Custom Coachwork Division. Derham Body Co. would eventually design and build more than 40 custom bodies for the Model J and SJ. This 1932 Model J featured coachwork in the style of a Derham Tourster by Ted Billings. Typical of Derham’s conservative yet elegant offerings, it impresses with red body and chassis paint, burgundy fenders, beltline and sills, a contrasting tan folding top and leather interior, and wide whitewalls on chromed wire wheels. The powerful 420 CI Duesenberg straight-8 with polished side-exhaust drives a 3-speed manual transmission, and the opulent cabin incorporates a 150 MPH speedometer, Stewart Warner tachometer, Jaeger clock, an altimeter, in-dash brake adjustment lever with dry, rain, snow and ice settings, and wind-down rear windscreen.

Volkswagen Westfalia Camper 1977, Alemanha








Volkswagen Westfalia Camper 1977, Alemanha
Exterior: Verde (Sage Green)
Fotografia




Chevrolet Corvette Convertible 1959, Estados Unidos














Chevrolet Corvette Convertible 1959, Estados Unidos
Motor: 283/290 HP
Exterior: Vermelho (Roman Red)
Interior: Vermelho
Fotografia

NCRS Top Flight award certificate included
Body-off restoration
Matching numbers fuel injected 283/290 HP engine
Correct air cleaner, distributor, hoses and hose clamps
Off Road exhaust
Correct radiator
T10 4-speed transmission
4.11 Positraction differential
Roman Red with matching Red interior
Black soft convertible top
Radio and heater delete
Sun visors
Courtesy light
Y-50 mirror
Full size wheel covers
6.70x15 Blackwall tires
Correct jack, tools, spare, mat and liner
Owners manual and sales brochure
If straight-axle Corvettes and Fuelie performance set your pulse racing, this 1959 Chevrolet Corvette Convertible will send it into the red zone. The showroom-quality recipient of a recent NCRS Top Flight Award, it presents in stunning condition resulting from a body-off restoration that left no detail untouched. The 1959 Corvette’s styling remained virtually unchanged from 1958 models, but eliminating the “washboard” hood ridges and the chromed trunk spears (the latter inspired by the custom Corvette created for Sweden’s Prince Bertil) left a much cleaner-looking car in their wake. The most powerful engine available remained the RPO 579D fuel-injected 283 CI small-block V-8. Upgraded to 290 HP the previous year, it incorporated the famed Zora Arkus-Duntov mechanical-lifter camshaft, an improved Rochester fuel-injection system with better fuel metering, and a freer-flowing paper air-cleaner element fed by a special duct installed in the front end. To take advantage of the increased power, Arkus-Duntov designed a new rear suspension using trailing-arm links anchoring the rear axle to the frame to virtually eliminate axle hop under hard acceleration. This excellent award-winning 1959 Corvette is powered by a matching-numbers 283/290 HP Rochester fuel-injected engine equipped with off-road exhaust. Detailed with the correct Rochester fuel-injection unit, distributor, radiator, hoses and hose clamps, seven-fin cast-aluminum valve covers and Delco-Remy generator, it drives a Borg Warner T-10 4-speed manual transmission backed by a 4.11:1 Positraction third member. Brightly finished in Roman Red with a matching red interior and black soft top, it features full-size spinner wheel covers over 6.70x15 blackwall tires and boasts excellent chrome and brightwork, and an immaculate undercarriage. A radio- and heater-delete car optioned with sun visors and courtesy lights, the car’s correct components include the spare tire, jack and tools, trunk mat, trunk liner, rear-axle rebound straps, seat belts, shifter, guide Y-50 mirror and T-3 headlights. The NCRS Top Flight certificate, owner’s manual and sales brochure are included.

Ford Mustang Fastback 1968, Estados Unidos

















Ford Mustang Fastback 1968, Estados Unidos
Motor: 390/325 HP
Exterior: Verde (Lime Gold)
Interior: Verde
Fotografia

S-code 390/325 HP engine
4-speed transmission
Power brakes
Sport deck rear seat
Philco AM radio
Lime Gold with Ivy Gold interior
Highly detailed engine compartment and undercarriage
Sold new at Ray Smith Ford in Kansas City, Missouri
Marti Report
Big-block power and 4-speed manual shifting are the highlights for this 1968 Mustang fastback. The subject of a frame-off restoration, the Lime Gold Mustang features the S-code 390 CI engine, dual exhaust with quad exhaust tips, gold interior, louvered hood with turn-signal indicators, side C-stripes and factory styled steel wheels with Firestone bias-ply white stripe tires. Nicely detailed, the fastback shows originality throughout, including under the hood by the 390’s chrome valve covers and air-cleaner lid, factory-style hoses and clamps, correct finishes and decals, and emissions equipment. In the fourth year of the Mustang and the second year following 1967’s redesign, the Mustang retained its long-hood, short rear-deck styling, including the fastback’s roofline that extended all the way to the rear panel. Larger overall and slightly heavier than the original 1964½-66 model, the 1968 Mustang was capable of handling the size and torque of Ford’s 390 CI V-8 in response to GM’s pony-car counterpunch, the 396-powered Camaro and the Firebird with a 400 CI engine. Based on Ford’s FE series big-block, the 390 V-8 was rated at 320 HP and 427 lb-ft of torque, providing impressive acceleration as the Mustang moved into the muscle-car era. With its sleek profile, the fastback was the perfect body style for a 390-powered Mustang with 4-speed transmission. Also for 1968, the Mustang’s interior was updated with new seat upholstery, black camera-case instrument-panel applique and safety additions that included a new padded steering wheel and padded dash. The gold interior in this 1968 fastback remains very correct, including the factory 4-speed shifter with pull-up reverse lock-out ring. The car also features a well detailed undercarriage, engine compartment and trunk. Sold new at Ray Smith Ford in Kansas City, Missouri, this Mustang is accompanied by a Marti Report.

A Compra da Louisiana, Nova Orleans, Estados Unidos (The Louisiana Purchase) - Mort Künstler


A Compra da Louisiana, Nova Orleans, Estados Unidos (The Louisiana Purchase) - Mort Künstler
Nova Orleans, Estados Unidos
Coleção privada
Guache sobre papel - 30x35 - 1986

The present work depicts the moment when, on December 20, 1803, the American flag was hoisted in New Orleans marking the annexation to the United States of the vast area stretching from the Mississippi River to the Rocky Mountains included in the Louisiana Purchase. It was featured on a commemorative first day cover commissioned by Fleetwood Division of Unicover Corporation.

Fugindo de Tudo (Getting Away From It All) - Maxfield Parrish


Fugindo de Tudo (Getting Away From It All) - Maxfield Parrish
Coleção privada
OST - 29x39 - 1961

Already renowned for his figurative murals and magical story illustrations, in 1930, Maxfield Parrish turned to landscape painting, beginning a new phase of his career with the enthusiasm and energy of a young artist. In the 1920s, "Parrish unequivocally described himself as a commercial artist. Yet, more and more, he seemed to go beyond that label, into the realm of self-expressive painting. To this end, his ideal landscape moved from the background to the foreground until it dissolved the demarcation completely...Thus, at the age of sixty, Parrish increasingly turned to painting the 'joys of nature' with an 'unattainable' verisimilitude, producing his last figurative composition--Jack Frost--in 1936." (Sylvia Yount, Maxfield Parrish: 1870-1966, Philadelphia, Pennsylvania, 1999, p. 113) Painted in 1961 as the last work of his long and storied career, the present work, Getting Away From It All, can be seen as Parrish’s ultimate expression of his ‘joy of nature.’
While many of Parrish’s landscapes were commissioned works, such as the several illustrations he created for Brown & Bigelow calendars beginning in 1935, Getting Away From It All is a more exceptional work in that Parrish chose to paint the subject solely for himself. Indeed, it was kept in his studio for the remainder of his life, and he gave the work its title. As such, Parrish’s choices seem particularly meaningful. The title Getting Away From It All acknowledges that, with this work complete, he is leaving his painting career behind, yet it also alludes to Parrish’s longtime pleasurable escape from his daily life into the beauty of nature. That passion for the landscape is reflected in the intensity of the colors Parrish employs in its depiction, including his signature blue, which add emotion and atmosphere to the scene. As reflected in this ultimate work, the artist once declared that "realism should never be the end in view. My theory is that you should use all the objects in nature, trees, hills, skies, rivers and all, just as stage properties on which to hang your idea, the end in view, the elusive qualities of a day, in fact all the qualities that give a body the delights of out of doors." (as quoted in C. Ludwig, Maxfield Parrish, New York, 1973, p. 185)
In Getting Away From It All, one small, snow-covered cottage appears dwarfed by the towering mountains surrounding it, yet the window of the home persistently glows with warmth from within. At once, Parrish seems to represent the awesomeness of nature but also his own deeply personal outlook on the nature of humanity. Alma Gilbert Smith explains, “The little oil on board almost appears as a goodbye from the artist…There is a light in the window, and spectacular light rising behind the hill beckoning the viewer to leave the safety of the home front and reach out into another realm." (Maxfield Parrish: Master of Make-Believe, Washington, D.C., 2005, p. 103) Sylvia Yount similarly reflects on the spirituality inherent in this final work, writing, "In a strikingly synthetic mountain landscape, a single light shines through a lone snow-covered cabin, incongruously sheltered by a diminutive oak tree--a fitting finale to a life well spent." (Maxfield Parrish: 1870-1966, p. 118)

Emboscada com Neve (Snowy Ambush) - John Philip Falter


Emboscada com Neve (Snowy Ambush) - John Philip Falter
Coleção privada
OST - 61x56 - 1959


The present work was published as the cover illustration of the January 24th, 1959 issue of The Saturday Evening Post. Please note the present lot includes a copy of this issue.

Palácio Iguaçu, Curitiba, Paraná, Brasil



Palácio Iguaçu, Curitiba, Paraná, Brasil
Curitiba - PR
AH
Fotografia - Cartão Postal

O Palácio Iguaçu é a sede do governo do estado brasileiro do Paraná e esta localizado no bairro Centro Cívico em Curitiba.
O Palácio foi idealizado no governo de Bento Munhoz da Rocha, que governou o estado na década de 1950, e sua inauguração ocorreu em 1953. Além do Palácio Iguaçu o projeto também previa a criação da Assembleia Legislativa do Paraná e diversos prédios públicos nas proximidades da sede estadual.
Em 14 de maio de 2007 a sede do governo foi transferida, temporariamente, para o Palácio das Araucárias, pois o Iguaçu passaria por reformas e no dia 18 de dezembro de 2010 (nas festividades de 157 anos da emancipação política do Paraná) o prédio voltou a sediar o executivo do estado.
Nota do blog: Imagem de Armin Henkel.

Monumento ao Dois de Julho, Salvador, Bahia, Brasil


Monumento ao Dois de Julho, Salvador, Bahia, Brasil
Salvador - BA 
N. 19
Fotografia - Cartão Postal