terça-feira, 2 de novembro de 2021

Ferrari 250 GT LWB Berlinetta "Tour de France" by Scaglietti 1958, Itália

 







































Ferrari 250 GT LWB Berlinetta "Tour de France" by Scaglietti 1958, Itália
Fotografia


Chassis number 1031 GT:
The 52nd alloy-bodied 250 GT LWB Berlinetta “Tour de France” of 72 built, chassis number 1031 GT was originally finished in an Alfa Romeo color known as “Giulietta Blue” with a red stripe and Havana brown upholstery. These were but the least of the requests of its original owner: French industrialist and accomplished racing driver Jacques Peron, a skilled rallyist (having co-driven to overall victory at the 1951 and 1953 runnings of the Rally Morocco), circuit racer, and multi-year 24 Hours of Le Mans entrant.
Peron requested a 250 TR-specification engine, a hinged engine cover to enable easy roadside repairs as a solo driver, a transmission tunnel-mounted hand brake for standing starts on hill climbs, room for two spare wheels for endurance racing, an ammeter in place of a clock, and an altimeter to determine when to change carburetor jets. He also requested that the car be completed no less than three weeks prior to the 1958 running of the Tour de France, in which he wished to take part, so that he would time to test it, become comfortable behind the wheel, and, if necessary, trouble-shoot any ills. Copies of correspondence between Mr. Peron and Ferrari are included in the file.
The Ferrari factory proceeded to deliver the car with no time to spare, having declined or ignored a number of Peron’s requests, including the 250 TR-spec engine and tunnel-mounted hand brake; they did, however, offer to install the altimeter—if he would be so kind as to bring it with him upon delivery. Having already been required to present the factory with his racing resume before they would sell him the car in the first place, Mr. Peron was, shall we say, not pleased. Such was his rage that not even a highly respectable 4th Overall finish in the Tour, co-driving with the noted American sportsman Harry Schell and overcoming damage to the right front fender, could quell it; he sent Ferrari a strongly worded letter thereafter, noting sale of the car to another Frenchman, René Cotton, in 1958.
Mr. Cotton soon entered the car in the Coupe de Paris at Montlhéry, where it was a DNF driven by Jean-Marc Beudin. Cotton then finished 6th Overall in the Lottery Grand Prix at Monza on 28 June 1959, then, co-driving with Beudin, DNF’d in the Tour de France of 1959. In 1960 the car was brought into the factory Assistenza Clienti at Modena for service and maintenance, still in Cotton’s ownership.
By October 1963 the car was owned by G. Tettamanti, then it passed in early 1967 to Ingegnere Beneteau of Agrate. Within months it had moved to the U.S. via the SS President Arthur, arriving in San Francisco in the hands of a new American caretaker, Robert Magnani. Mr. Magnani refinished the car in red and had it regularly serviced in his ownership by Steve Griswold’s now-legendary service facility, maintaining a detailed book of service records which still accompanies the Ferrari, while also driving the car some 15,000 kilometers.
In 1972, chassis number 1031 GT was sold to David and Mary Love. The Loves were great enthusiasts known for the loving long-term stewardship of their automobiles, which in addition to chassis number 1031 GT also included a 250 Testa Rossa and an Alfa Romeo 6C 1750 by Zagato. Mr. Love—fondly remembered for his pioneering, tireless support for historic racing and his decades of on-track exploits in his Testa Rossa—was a fastidious caretaker who researched the car’s history carefully and maintained it with the same precision, taking pride in maintaining it mechanically himself. After it was refinished in grey with a black racing stripe, Mary Love, an accomplished vintage racing driver, drove the car at the Monterey Historics in 1973 and 1974, finishing 1st and 2nd in Class, respectively. Later that decade the engine and gearbox were rebuilt by Mr. Love.
The car attended and completed six consecutive Colorado Grands between 1990 and 1995—with the Loves driving their mount to and from the event! The couple also completed the inaugural Copperstate 1000 in 1991 and the La Carrera Real in 1992. In the Tour de Marin in 2002, a ghost of the car’s past seems to have visited, when it sustained minor damage on the same right front fender that had been damaged in the 1958 Tour de France! This was corrected by 2004, with the body refinished to medium red, and the car continued to be enjoyed. During the Loves’ ownership the car was pictured in John Starkey’s respected tome on the model, The Ferrari 250 GT Story: Tour de France, and was generally considered one of the best-kept and most well-preserved examples of its kind.
Only following David Love’s passing in 2014 did the prized 1031 GT become available, and was then acquired by the present owner—accompanied by the collection of documentation that had been meticulously kept over the years. This information helped enable a restoration undertaken with great sensitivity towards the originality of components throughout. Mechanical restoration was undertaken by the respected Patrick Ottis, with attention to detail that included confirming the original engine and gearbox numbers to still be present, properly restoring the wiring, and fitting such priceless pieces as original 1958 Marchal headlamps, a period battery, and an authentic washer bottle. Ottis’s superior workmanship is well-recognized and is evident in every nut and bolt of the finished product here.
As the Loves had intended the previous cosmetic restorations to be “temporary,” they had carefully preserved a spot of original Giulietta Blue paint, to which the new finish was carefully matched by Charlie Potts in the course of coachwork restoration—a process aided by rare original Scaglietti paint samples possessed by Ottis. Period photos allowed the interior to be meticulously refinished to the original standard, including the black vinyl rear storage area, sized to accommodate two spare tires, and a passenger seat headrest, two of Mr. Peron’s many requests. Such was the sympathetic nature of the restoration that an etching in the door sills from the original construction was preserved. The painted Borrani wire wheels retain triple-ear knock-offs, which are seen in the earliest photos of the car. In sum, no stone was left unturned to ensure that the Ferrari would be presented exactly as it had appeared when Mr. Peron arrived at scrutineering for the 1958 Tour de France.
The car was debuted at the 2016 Pebble Beach Concours d’Elegance, completing the Tour d’Elegance and being judged 3rd in Class amidst very strong competition. It has been only selectively driven since and exhibited only more at Pebble Beach, this time at Casa Ferrari as part of the concours celebrations in 2019.
Accompanied by the considerable trove of documentation and meticulous maintenance records kept since the 1970s, as well as copies of the correspondence between its original owner and Ferrari, this is almost certainly among the finest Berlinettas “Tour de France” to be found—a car of unimpeachable quality, provenance, and distinction.

Mercury Montclair Hardtop 1956, Estados Unidos

 
















Mercury Montclair Hardtop 1956, Estados Unidos
Fotografia

Em Casa Para o Dia de Ação de Graças, Estados Unidos (Home for Thanksgiving) - Norman Rockwell

 





Em Casa Para o Dia de Ação de Graças, Estados Unidos (Home for Thanksgiving) - Norman Rockwell
Estados Unidos
Coleção privada
OST - 88x83 - 1945


Norman Rockwell continues to move - to reassure -- Americans of every generation who have experienced firsthand the strife of war. That is but one reason among many why his art endures, why his images of long-ago yesterdays continue to resonate. A U.K. newspaper, of all places, said it well in 2013, when The Guardian noted that "in the dark days of the second world war, Rockwell played a critical role in helping Americans on the home front understand what was at stake in the fighting going on in Europe and the Pacific."
The narrative depicted in the beloved and oft-reproduced masterwork Home for Thanksgiving tells a story far greater than just that of the scene at hand. Commissioned for the November 24, 1945, issue of The Saturday Evening Post, this painting tells the tale of the first Thanksgiving after the Allies' victory. It is not just the story of an individual soldier and his proud, doting mother, but that of the nation.
For many, Thanksgiving is the quintessential American holiday. It represents a sense of warmth, home, family, and tradition. Rockwell created several Thanksgiving paintings and illustrations, ranging from the heartwarming to the humorous. The most well-known of these is likely Freedom from Want (also known as The Thanksgiving Picture or I'll Be Home for Christmas), which depicts a grandmother serving her family with an enormous, fresh-roasted turkey. The painting was inspired by President Franklin D. Roosevelt's 1941 State of the Union Address and features the artist's friends and family. An earlier illustration from 1917, Cousin Reginald Catches the Thanksgiving Turkey, demonstrates Rockwell's fanciful side, showing a turkey chasing a young boy - the hunter becoming the hunted. Simply put, a family-oriented, warm and cozy holiday tradition is the antidote to the violence and fear associated with war.
The subject of war, and the pain and apprehension related to seeing loved ones head into battle, is a universal concept Americans understand, regardless of class, race, gender and social standing. Before television and movies, magazines and newspapers were the public's sources of news. Rockwell understood his profound responsibility, and didn't take the task lightly. Rockwell, writes Christopher Finch, "is far from being a warlike person; he is, on the contrary, a gentleman in the literal sense of the word. Yet the war brought out the best in him and turned him toward the naturalistic portrait of home-town America which he put to good use in the decades that followed. His immediate contribution to the war effort on the home front was quite considerable. What is most important about this period, in relation to his career as an illustrator, is the fact that he was given this opportunity to prove to himself and to others that he was capable of dealing with serious subjects without abandoning the human touch which had always been his trademark".
As the artist himself wrote on the subject of war: "One of the most difficult problems in painting magazine covers is thinking up ideas which a majority of readers will understand. The farmer worries about the price of milk; the housewife fusses over the drapes for the dining room; the gossip gossips about Mrs. Purdy and her highfalutin airs. You have to think of an idea which will mean something to all of them. ... In wartime the problem vanishes. Everyone in the country is thinking along the same lines, the war penetrates into everyone's life. Johnny Sax, the boy next door, joins up; sugar can't be bought for blood or money; war bond posters are plastered all over town...And during a war there's always a crowd of new and different ideas hanging around. Everything's changed. Men go off to war".
With the trials and tribulations of going to and returning from the battlefield in mind, Rockwell was preoccupied with communicating how Americans felt at once triumphant and exhausted after so many years of conflict and so many lives lost. Rockwell sought to memorialize in a meaningful way how soldiers and their families acclimated back to 'normal life' once wartime ended. In his words: "The transition from war to peace gave me the chance to do several covers of the home-coming type. Four of the above might be so described: those of the returned soldier, the hammock-resting sailor, the souvenir bearing marine, and the veteran doing K.P. [kitchen patrol] and liking it".
Rockwell's artistic response to the end of World War II is evident in his several optimistic and heartwarming depictions of experiences on the home front-by workers, children, parents, and loved ones waiting for the soldiers' return. "Along with the 'Freedom' quartet, the simplest, most eloquent and moving of these are his various depictions of homecomings. He had worked in this vein at the end of World War I, albeit in comparatively obvious fashion. But his 1945 World War II series-including the Homecoming, Homecoming Marine, and Home for Thanksgiving (Mother and Son Peeling Potatoes) were all so fleshed out and piercing that they could have been scenes from movies. In their emotional impact, they anticipated the heart-stopping moment when Al Stephenson (played by Frederic March) quietly returns to his family after years at war in William Wyler's Oscar-winning The Best Years of Our Lives (1946)".
Rockwell regularly employed friends and neighbors as models for his paintings, and Home for Thanksgiving is no exception. Initially, Rockwell had traveled to Maine to capture images of a family for reference, but according to Rockwell Museum curator Linda Pero: "He had problems in the drawings." The composition and subjects chosen at this time did not adequately suggest the feeling of homecoming that the artist desired, the young man did not show the war weariness so critical to the painting's message. Ultimately this led to Rockwell choosing Sarah (sometimes Saara, from the Old Country) Hagelberg and her son Richard, Rockwell's milkman and former bombardier during the war, as subjects in Home for Thanksgiving. Rockwell paints the soldier's shoulder patch and ribbons inaccurately in detail, but accurately enough to identify the subject as a member of the Allied Forces Headquarters, with the "AF" standing for Allied Forces. The ribbons are the Purple Heart, the American Defense Service ribbon, and the European-African-Middle Eastern Campaign ribbon.
After owning this iconic and highly important Rockwell for close to 50 years, the E.M. Connor Post #193 American Legion of Winchendon in Massachusetts has decided consign to at Heritage Auctions. Due to declining membership and the need for major improvements to the Post, the time has come to sell -- a gut-wrenching but necessary decision. The Post building is not only a home for Veterans, Sons of the Legion and Auxiliary, it is widely used by the various organizations within the Winchendon community.
There is a certain sense of poetry, of life coming full circle, as present-day military heroes part with an endearingly patriotic depiction of a World War II military hero. May this painting bring as much excitement and joy to the new owner as it did to the Winchendon American Legion.

Trecho da Avenida Oceânica, Salvador, Bahia, Brasil


 

Trecho da Avenida Oceânica, Salvador, Bahia, Brasil
Salvador - BA
Fotografia - Cartão Postal

Lagoa Rodrigo de Freitas, Rio de Janeiro, Brasil


 

Lagoa Rodrigo de Freitas, Rio de Janeiro, Brasil
Rio de Janeiro - RJ
Fotografia - Cartão Postal