Lagonda LG45 Rapide Sports Tourer 1937, Inglaterra

 

Lagonda LG45 Rapide Sports Tourer 1937, Inglaterra
Fotografia


Among the dark-colored, sober saloons of pre-war Britain, the striking Lagonda LG45 Rapide—with its sweeping lines, squared-off radiator, gleaming outside exhausts, and beautifully sculpted boat-tail rear end—must have looked utterly outrageous. Styled by Frank Feeley—who would go on to mastermind the Aston Martin DB2—the car was bold and beautiful, quick while standing still, and rarer than almost anything else on the road. That something so pretty and special would come from the firm’s dank and dilapidated tin-roofed sheds on the banks of a black River Thames in Staines only added to the allure.
This incredible car may not have been built had fate been different. As the clouds of war began to gather over Europe in 1935, Lagonda was in a parlous state. Finances in ruin, the company almost fell into the hands of great rival Rolls-Royce. And it would have, were it not for the intervention of Alan Good and former racing driver Dick Watney. Good’s bid saved the company, while Watney’s direction would steer the firm’s engineers and draftsmen to strive for greatness. W.O. Bentley also joined Lagonda, bringing with him a number of gifted craftsmen from Derby. Under his supervision, the M45 became the LG45—a true rival to the great luxury machines of the day that now benefited from a centralized lubrication system and more usable synchromesh gearbox.
Watney saw something great in the LG45 and quickly commissioned a more sporting, focused version that would prove irresistible to wealthy playboys of the day. Frank Feeley, who had been at the company since he was just 14, was encouraged to be bold with his design, creating flamboyant factory coachwork that would adorn each of the 25 cars that were built. Based on the same chassis as the LG45, the Rapide was powered by the tried-and-tested 4,467-cubic-centimeter six-cylinder Meadows engine—a variant of the mill that had driven the firm to outright victory at Le Mans in 1935—though in "Sanction 3" trim, it benefitted from a number of improvements masterminded by Bentley. Now breathing more freely through a much-improved exhaust system, the engine was also markedly more potent thanks to an increase in compression ratio to 7:1—or 7.5:1 when paired with high-octane petrol—and placed the car among just a handful of contemporary models capable of exceeding 100 mph.
The Rapide broke cover in September 1936, just six months after the company changed hands, and a short production run resulted in just 25 examples being built. Among them was chassis 12267R—the 24th to leave the Staines Works—which was ordered on 23 July 1937 and delivered to its first owner three months later. Beautifully finished in green with a complementary green leather interior, fawn soft-top, and polished walnut woodwork, the car was supplied by London’s sole Lagonda distributor, Keevil & March of Berkeley Square, and wore the registration number "ELB 396." The car was sold new to London, later passing through the hands of a Bristol-based industrialist before returning to the capital and taking up residence in Hampstead. Works Service Department records note the replacement of the hood, tonneau, and side screens with new mohair items in 1951, along with the repair and strengthening of the rear body brackets.
In 1956, the Lagonda was bought by a doctor based in Cambridge, and it remained with the family until 1984. Its next owner would commission a full restoration, including a color change to red over a cream leather interior. Shortly after its completion, the car was acquired by noted US collector George Chilberg, who went on to show the Lagonda at the Pebble Beach Concours d’Elegance in 1999 and the Newport Beach Concours in 2006; he kept the car for almost three decades. In 2013, it was sold again, appearing at the Amelia Island Concours d’Elegance before being repatriated to the United Kingdom, where the Rapide was reunited with its original registration number.
Following its return to home shores, the Lagonda was treated to an extensive mechanical and cosmetic refresh. The car was refinished in its original green by Moto Technique Ltd at a cost of more than £39,000, and retrimmed in Connolly hide by O’Rourke Coachtrimmers, with an accompanying invoice for more than £37,000. Meanwhile, between November 2013 and April 2015, some £50,000 was spent with marque specialist Bishopgrey, accounting for extensive mechanical and body repairs and finishing, after which the car was campaigned in the 2015 Flying Scotsman Rally.
Today, this magnificent Lagonda LG45 Rapide presents beautifully in its original color scheme of matching green with a fawn mohair hood. It exhibits commanding road presence and can easily keep up with modern traffic. Flick the ignition switch on and, when pressing the starter, the straight-six fires to life with a lovely exhaust note. Engaging, but certainly not difficult, to drive, gear changes are direct, while copious torque ensures that you are never left underequipped in any gear.
Surely among the finest examples of its type, this hugely appealing four-seat tourer combines timeless elegance with true 100-mph performance—a perfect machine to take up the cudgels in historic rallies, to challenge for honors at top concours events, or just for a scenic backroads trip to the pub.

Shelby 289 Cobra 1964, Estados Unidos

 

Shelby 289 Cobra 1964, Estados Unidos
Fotografia



By 1961, Carroll Shelby had established his reputation as a first-rank racing driver (having won LeMans outright in 1959 with co-pilot Roy Salvadori) and, ready to kick it up a notch, he set out to build his own racecar. Impressed by the combined agility and power of borrowed Cad-Allards, he set out to create the ultimate Anglo-American hybrid. AC Cars of Thames Ditton, England provided a nimble tubular frame and aluminum body from their Ace, highly reputed for its dexterity on the European circuit. Desirous of the visceral power of a Detroit V-8, Shelby persuaded Ford to furnish their short-stroke 260-cubic-inch engine to complete the perfect union.
In 1962, a brilliant yellow Shelby Cobra was unveiled at the New York Motor Show. The prototype, chassis CSX 2000, weighed in at just 2,100 pounds and was campaigned across the United States, usually in a different color each weekend.
In 1963, Shelby upped the ante with the Cobra Mk II, notably upgrading the original Cobra to rack-and-pinion steering and then with a high-output 289-cubic-inch V-8 capable of 271 horsepower. The new powerplant made the 289 Cobra capable of rocketing from 0-60 mph in under 6 seconds on its way to a 130-mph top speed. The superb power-to-weight ratio enabled the newcomer to record numerous, impressive victories on the international sportscar circuit while dominating SCCA racing, cementing Carrol Shelby’s place in the pantheon of American automotive luminaries.
The Shelby 289 Cobra presented here was billed to Shelby American from AC Cars on 20 December 1963 and dispatched to Los Angeles 2 January 1964 aboard the SS Dongedyk. After receiving its engine and chassis upgrades from Shelby, CSX 2274 was invoiced to Noble Motor Company of Danville, Illinois on 20 March 1964. Factory-finished in white over black trim, the Cobra was equipped with the Class “A” accessory group including white-sidewall tires and no luggage rack, an outside rearview mirror, radio antenna, anti-freeze, plus the rare twin four-barrel carburetor option for a finished price of $5,943.25.
The Shelby American Automobile Club Leaf Spring Cobra Registry reports that following CSX 2274’s arrival in Illinois, it was sold to its first owner, Clint Sandusky, Jr. in June of 1964. The car is then known to have been accepted on trade by Bill Watkins Ford of Scottsdale, Arizona at some point in 1970. In October 1972 James Wagner of Dayton, Ohio purchased the car, described at the time as “near concours condition… always garage-kept and stored winters.” CSX 2274 would grace the cover of the first Cobra World Registry in 1974 under Wagner’s ownership. Wagner added five-spoke American wheels and a hood scoop before selling the car in late 1975. The Cobra then passed through a series of caretakers and was repainted in its current, classic livery of blue with white stripes at a point in the 1980s. In the late 1990s, CSX 2274 landed in the esteemed Paul Montrone Bayberry Collection, where it would remain for over two decades. Importantly, the registry does not record any accidents, incidents, or unsightly modifications.
In 2022, the Cobra was entrusted to noted marque specialists Rare Drive of East Kingston, New Hampshire for an extensive freshening. Accompanying service invoices document a full rebuild of the braking and suspension systems, engine tuning, and an extensive diagnosis of the fuel and electrical systems to ensure this Cobra performs correctly. Inspection of its chassis plate, which is believed to be original to the car, confirms that the car retains its numbers-matching engine. Likewise, stampings on the door and trunk latches match the chassis number. Benefitting from exhaustive mechanical sorting and a period-correct appearance, CSX 2274 would make an ideal entry into any number of vintage tours and rallies. It is accompanied by side curtains, convertible top and tonneau cover, a grease gun, jack, and spare wire wheel.
Shelby 289 Cobras are rightly prized by true enthusiasts for their remarkable performance and superior agility, resulting in a famously visceral driving experience. This example, with rare specification and a known history from new, presents an excellent opportunity to become one of the lucky few to experience proper Cobra ownership.

Câmera Kodak Sport, Década de 80, Brasil

Câmera Kodak Sport, Década de 80, Brasil

Fotografia

 Nota do blog: Era a nossa câmera nos anos 80-90.

Propaganda "Cor é Kodak", 1987, Câmera Kodak Sport, Brasil

 

Propaganda "Cor é Kodak", 1987, Câmera Kodak Sport, Brasil

Propaganda

Salvo engano, essa era a câmera que usavámos nos anos 80 e 90. Meu pai comprou uma devido ao preço barato, vinha em uma caixa promocional com um filme de brinde. Ela usava filme 110 (um dos menores formatos), tinha poucos recursos, extremamente simples. Lembro de ter uma amiga que trabalhava em um estúdio fotográfico da Fuji que vivia tirando sarro da minha cara, dizendo que a máquina não prestava. Não é a toa que nossas fotos da época são terríveis, além de grande parte ter queimado...rs.