One of the absolute stars of this year’s Concorso d’Eleganza Villa d’Este will be the Bugatti 59 once owned by King Leopold III of Belgium. We met the remarkable car and its owner for a last shakedown in the Swiss Alps.
There is no doubt that this will be the star of the next Concorso d’Eleganza Villa d’Este, taking place on the shores of Lake Como from 20 to 22 May 2022. But what is it? The car before you is nothing less than the very first of the six Type 59 Bugatti Grand Prix cars, and the one that’s considered the most desirable of all, due to its remarkable race records, its captivating history, and its extraordinary condition.
The Empire State Building is a 102-story Art Deco skyscraper in Midtown Manhattan in New York City, United States. It was designed by Shreve, Lamb & Harmon and built from 1930 to 1931. Its name is derived from “Empire State”, the nickname of the state of New York.
The Golden Gate Bridge stands at the entrance to California’s San Francisco Bay as a symbol of American ingenuity and resolve, having been constructed during the era of the Great Depression. Today, this beloved international icon and true engineering marvel carries about 40 million vehicles a year and serves not only as a vital transportation link but also as a major travel destination for millions of visitors from around the world.
Construction began on January 5, 1933. This was followed by the official ground breaking ceremony held on February 26, 1933, at nearby Crissy Field (now part of the Golden Gate National Recreation Area). The start of construction was met with great delight. A celebration at nearby Crissy Field went on for hours with at least 100,000 people in attendance. The San Francisco newspaper wrote the next day, “Two hundred and fifty carrier pigeons, provided by the San Francisco Racing Pigeon Club to carry the message of groundbreaking to every corner of California, were so frightened by the surging human mass that small boys had to crawl into their compartments in the bridge replica to shoo them out with sticks.”
December 22, 1932: Extending from Fort Baker pier, the construction of a 1,700 foot-long access road began to access the construction sites for the Marin anchorage, pier and tower.
January 5, 1933: Construction officially started.
January 1933 to February 1936: Marin and San Francisco anchorages and associated pylons.
January 1933 to May 1935: San Francisco anchorage.
January 1933 to June 1933: Marin pier.
January 1933 to June 1935: Marin anchorage.
February 1933: Work began on the east approach road from San Francisco that extended through the Presidio to the south end of the Golden Gate Bridge.
March 1933: Steel for the San Francisco and Marin towers that was prefabricated in Bethlehem steel foundries in Pottstown and Steelton, PA was brought by flatcar to Philadelphia and transferred to barges and shipped through the Panama Canal to Alameda, CA where it was stored until the Marin pier was completed and ready for tower erection.
March 1933 to March 1934: San Francisco tower access trestle was constructed extending 1100 feet offshore. Just as the trestle was completed, it was significantly damaged for the first time on August 14, 1933, when the McCormick Steamship Line’s Sidney M. Hauptman plowed through the thick fog and crashed into the access trestle, damaging about 400 feet. After repairs were made, on December 13, 1933, as a southwest gale battered the Golden Gate Strait for two days, the access trestle was again battered and this time there was 800 feet of wreckage. Trestle repairs began shortly thereafter and completed March 8, 1934.
November 7, 1933: Marin tower construction started. Depending on the source referenced, it was completed either on June 28, 1934 or sometime in November 1934.
October 24, 1934: San Francisco fender wall completed.
November 27, 1934: San Francisco pier area within the fender wall was un-watered.
January 3, 1935: San Francisco pier reached its final height of 44 feet above the water.
January 1935 to June 28, 1935: San Francisco tower construction.
August 2, 1935 to September 27, 1935: Harbor Tug and Barge Company strung the first wire cables to support the footwalks (aka catwalks) constructed across the Golden Gate Strait in preparation for main cable spinning.
October 1935 to May 1936: Main cable spinning and compression.
April 1936: Start of the Sausalito lateral approach road which was constructed as a W.P.A. project.
July 1936 to December 14, 1936: Suspended structure.
July 21, 1936: Start of San Francisco approach viaduct structures and Fort Point arch construction.
November 18, 1936: Two sections of the Bridge’s main span were joined in the middle. A brief ceremony marked the occasion when groups from San Francisco and Marin met and exchanged remarks at the center of the span. Major Thomas L. McKenna, Catholic Chaplin of Fort Scott, blessed the span while sprinkling holy water.
January 19, 1937 to April 19, 1937: Roadway completed.
One of the most iconic cars from Bentley’s history – Sir Tim Birkin’s 1929 supercharged 4½-litre “Blower” – is to be reborn with a new build of 12 matching cars, each individually handcrafted by a team of specialists from Bentley’s bespoking and coachwork division, Mulliner. Together, the new cars will form the world’s first pre-war race car continuation series.
Only four original ‘Team Blowers’ were built for racing by Birkin, in the late 1920s. All were campaigned on the racetracks of Europe, with the most famous car – Birkin’s own Team Car No. 2, registration UU 5872 – racing at Le Mans and playing a pivotal role in the factory Bentley Speed Six victory in 1930.
Now, using a combination of generations of handcraftsmanship skills and the very latest digital technology, the 1929 Team Blower will be the master example for 12 continuations – one for each race that the original fleet of four Team Blowers competed in.
The Empire State Building is a 102-story Art Deco skyscraper in Midtown Manhattan in New York City. It was designed by Shreve, Lamb & Harmon and built from 1930 to 1931. Its name is derived from “Empire State”, the nickname of the state of New York.
Gooding & Company proudly presents the ultimate Bugatti Grand Prix car: the incomparable Type 59. This extraordinary 1934 Bugatti Type 59 Sports represents the ultimate evolution of the Bugatti Grand Prix car and is both a technical marvel and a masterpiece of industrial art. Carefully preserved by just four subsequent owners, and presented today in time-warp condition, 57248 is arguably the most important, original, and coveted of all competition Bugattis.
One of the most sought after and desired Bugatti Type 57S variants was the Type 57S Atalante. The 57S Atalante sports the Jean Bugatti designed Atalante body style fitted to the lowered Type 57S chassis. With its 3.2L straight eight engine and its sleek aerodynamic design, the 57S Atalante was a world class performance car. It was common for Type 57S owners to fit the Bugatti supercharger (designated by the letter C), effectively upgrading their cars to Type 57SC specification.
Of the six stainless steel cars that rolled off the Ford assembly line in Detroit in 1936, four exist today, including this example that was retained by Allegheny Ludlum – now known as Allegheny Technologies – itself. The company donated the 1936 Ford Deluxe Sedan with a brushed stainless steel body to the Heinz History Center in Pittsburgh, where it is on display as part of the permanent collection.
In 1935, executives at the Ford Motor Company and Pittsburgh-based Allegheny Ludlum Steel joined forces on the production of a solid stainless-steel car, a 1936 Deluxe Sedan. That car became the focal point of a campaign to showcase the extreme durability and aesthetic appeal of the new metal. Only six of the 1936 Fords were built in total and all were far from being simply promotional trailer-queens; each was to log over 200,000 miles in the hands of Allegheny Ludlum executives until their “retirement” in 1946, outlasting most of their non-stainless body parts and multiple engines is testament to the superiority of the dynamic metal.
Allegheny Ludlum and Ford would later collaborate on two more stainless models, the 1960 Thunderbird and 1967 Lincoln Continental Convertible. Just two Thunderbirds rolled off the assembly line in 1960, with bodywork formed from T302 stainless. Both retain their original exhaust systems today, after 60 years and more than 100,000 miles each. The 1967 Lincoln Convertible was the last of the stainless steel cars produced. Except for the vehicle’s body, all other parts and equipment on the car are standard for the 1967 Lincoln Convertible. Only three were made, once again proving that stainless steel’s enduring beauty is matched by its toughness.
Charles Mahoney,(18 November 1903 – 11 May 1968): Painter, muralist, draughtsman and teacher, born Cyril Mahoney in London – his fellow-student Barnett Freedman re-christened him Charlie at the Royal College of Art, which he attended 1922-6 after a period at Beckenham School of Art under Percy Jowett. Early on, Mahoney established a reputation as a conscientious teacher.
He was at the Royal College 1928-53, from 1948-53 as a painting tutor, and was noted there for his concern for academic discipline.
His portrait is included in Rodrigo Moynihan’s celebrated Teaching Staff of the Painting School at the Royal College of Art, 1949-50. From 1954 to 1963 he taught at the Byam Shaw School of Drawing and Painting and from 1961 to 1968 at the Royal Academy Schools. He painted murals at Morley College 1928-30 with his colleagues Eric Ravillious and Edward Bawden.
Unfortunately these murals were destroyed during World War II. The work led to further murals: at Brockley School, Kent, with Evelyn Dunbar; and at Campion Hall Lady Chapel, Oxford. His oil paintings are frequently of a religious nature. He was a skilled botanist, and many of his drawings depict his garden at Wrotham, Kent.
He exhibited at NEAC and the RA, being made an RA elect in 1968. He is represented in the Tate Gallery and other public collections. The Ashmolean Museum, Oxford, held a memorial exhibition in 1975. Exhibitions were held in 2000 at the Harris Museum and Art Gallery, Preston, Royal Museum and Art Gallery, Canterbury, and the Fine Art Society plc in association with Liss Fine Art.
Born in Victoria, Australia, Martin Lewis was a printmaker who is known for his scenes of urban life in New York during the 1920s and 1930s. As a youth Lewis held a variety of jobs that ranged from working on cattle ranches in the Australian Outback, in logging and mining camps, to being a sailor. In 1898, he moved to Sydney for two years where he received his only formal art training. During this period he may have been introduced to printmaking; a local radical paper, The Bulletin, published two of his drawings.
Lewis left Australia in 1900 and first settled in San Francisco. He eventually worked his way eastward to New York. Little is known about his life during the following decade except that he made a living as a commercial artist and produced his first etching in 1915. Lewis’ skill as an etcher was noticed by Edward Hopper, who became a lifelong friend. In 1920, dissatisfied with his job, Lewis used his entire savings to study art and to sketch in Japan. He returned to New York after a two-year stay and resumed his commercial art career, but also pursued his own work as a painter and printmaker.
During the Depression, Lewis moved to Newtown, Connecticut, but later returned to Manhattan, where he helped establish a school for printmakers. From 1944-1952 Lewis taught a graphics course at the Art Students League in New York.
During his thirty-year career, Lewis made about 145 drypoints and etchings. His prints, like Shadow Dance and Stoops in Snow, were much admired during the 1930s for their realistic portrayal of daily life and sensitive rendering of texture. The artist’s skill in composition and his talent in the drypoint and etching media have received renewed attention in recent years. Lewis is one of the few printmakers of this era who specialized in nocturnal scenes. Some scholars consider his print Glow of the City his most significant work because of the subtlety of handling. A minute network of dots, lines, and flecks scratched onto the plate creates the illusion of transparent garments hanging in the foreground, while the Chanin Building, an art deco skyscraper, towers over the nearby tenements.