Showing posts with label 1930s. Show all posts
Showing posts with label 1930s. Show all posts

Wednesday, June 27, 2018

Hosteen Klah

Hosteen Klah 



Hosteen Klah 



Hosteen Klah 



Hosteen Klah 



Hosteen Klah 


Navajo boy babies are given the name "Away Eskay,” meaning “Baby Boy” until they exhibit some characteristic or some unusual mark is discovered on their bodies to suggest a name.

It was four or five yeas after his birth that Hosteen Klah was given a name that would remain with him the rest of his life. It was noticed that he used his left hand more readily than his right, so he was called “Klah” which means “left handed.”

Klah is the best recognized of all Navajo Medicine Men of the 20th century. It was he who undertook to learn all the sandpaintings associated with various healing ceremonies, and it was he who was the first to record a healing sandpainting in tapestry form. Prior to his doing this, it was fervently believed by the Navajo that doing so would result in serious illness to the perpetrator. When Klah escaped serious illness following weaving a sandpainting rug, he continued making them.

The Museum of Navajo Ceremonial Art in Santa Fe was built specifically to house all of Klah’s tapestries, ceremonial effects, and drawings of his sand paintings. It was built in the shape of a Navajo hogan, or traditional house. Unfortunately, Klah passed away just months before the museum was dedicated in his honor. The museum’s name has now been changed to Wheelwright Museum of the American Indian to better define its expanded mission.

Klah was invited by the State of New Mexico to attend the Century of Progress Exposition in Chicago in 1934 as the official Medicine Man for the exhibition. He accepted. This photograph was taken shortly before his departure for Chicago.




Monday, June 19, 2017

Frances Glessner Lee: Deadly Dioramas

Frances Glessner Lee



Frances Glessner Lee



Frances Glessner Lee



Frances Glessner Lee



Frances Glessner Lee

I ordered a copy of this fascinating book to see what's what...

The Nutshell Studies of Unexplained Death offers readers an extraordinary glimpse into the mind of a master criminal investigator. 

Frances Glessner Lee, a wealthy grandmother, founded the Department of Legal Medicine at Harvard in 1936 and was later appointed captain in the New Hampshire police. In the 1940s and 1950s she built dollhouse crime scenes based on real cases in order to train detectives to assess visual evidence. 

Still used in forensic training today, the eighteen Nutshell dioramas, on a scale of 1:12, display an astounding level of detail: pencils write, window shades move, whistles blow, and clues to the crimes are revealed to those who study the scenes carefully. 

Corinne May Botz's lush color photographs lure viewers into every crevice of Frances Lee's models and breathe life into these deadly miniatures, which present the dark side of domestic life, unveiling tales of prostitution, alcoholism, and adultery. 

The accompanying line drawings, specially prepared for this volume, highlight the noteworthy forensic evidence in each case. Botz's introductory essay, which draws on archival research and interviews with Lee's family and police colleagues, presents a captivating portrait of Lee.



Tuesday, February 5, 2013

Dream Creampuffs: Bugatti Type 51 Dubos Coupé and Dick Sprang's Batmobile





From Ultimatecarpage.com:

This unique Bugatti Type 51 Dubos Coupé is a prime example of a tradition typical for the 1930s -- the re-bodying of obsolete racing cars for road use. By combining the race-bred underpinnings with luxurious roadster and coupe bodies, the cars were given a new lease of life.

This was particularly common practice for Alfa Romeo 8C 2300s but this Type 51 (chassis # 51133) is proof that Bugattis were also subject of these conversions. When historic racing became increasingly popular, many of these cars were re-bodied once more. This could be fully justified as they were returned to their original condition. In the process many coach-building works of art were however lost. For many decades the Dubos Coupé and its Bugatti chassis were also separated but fortunately both have survived.

Chassis 51133 was completed in February of 1931 as a Bugatti Type 51. This was the company's latest Grand Prix racer, which featured the all-conquering Type 35 chassis with a brand new twin-cam eight cylinder engine. In fact chassis 51133, and several others, actually used bits of one of the left-over Type 35 frames. The Type 51 was a very typical Bugatti design with a steel ladder frame and solid axles at both ends. The front suspension was by semi-elliptic leaf springs and friction dampers. At the rear Bugatti's hallmark reversed quarter-elliptic springs were fitted in combination with friction dampers. Another distinct Bugatti feature found on the
Type 51 were the cast alloy wheels with integral drum brakes.

As mentioned earlier, what set the Type 35 and Type 51 apart was the engine. The 35 used an straight eight engine with three vertical valves per cylinder, actuated by a single overhead camshaft. The change to a twin-cam design was inspired by Miller's eight cylinder engines.

Ettore Bugatti had acquired several examples and ran them on his dyno, only to find out they were much more efficient. He was so impressed that he had his engineers make near identical copies of the design. The Miller derived twin-cam head was first found on the Type 50 road car of 1930 but soon found its way onto the Type 51 competition car. To suit the various classes, the supercharged engine was available in 1.5, 1.9 and 2.3 litre versions, producing between 130 and 180 bhp.

The Type 51 had a very successful debut season. Achille Varzi took the car's first major win in the April 1931 Tunis Grand Prix. A month later Louis Chiron won the Monaco Grand Prix, while two other Type 51s finished third and fourth. During the second half of 1931 Italian rivals Maserati and Alfa Romeo caught up and the twin-cam Bugatti gradually lost touch.

Nevertheless Bugatti managed to sell an impressive 40 examples of the various versions of the Type 51. Chassis 511133 was among the earliest examples and used by the Bugatti Works team throughout the 1931. At the end of the year, the car was given or sold to Louis Chiron. He continued to race the car together with René Dreyfuss for another two seasons. After changing hands several times, it was acquired by André Bith in 1936.

The heir to a vast pharmaceutical fortune, Bith was a well known Parisian playboy. He had big plans for the tired Type 51 and drew up a design, which was clearly inspired by the Type 57 Atlantic Coupé penned by his friend Jean Bugatti.

Universally admired today, the Atlantic was clearly already considered something very special when new. To make his dream a reality, Bith turned to local coach-builder Louis Dubos.

Although he worked mainly on more common French cars like Peugeots and Delahayes, Dubos felt he was up to the task of creating a 'mini Atlantic.' He reportedly billed Bith 20,000 French Francs for the work, which was almost enough to buy the latest Citroën Traction Avant. The Type 51 entered the Dubos workshop in April of 1937 and the transformation was completed in a very short period.

Apart from its compact dimensions, there was little that reminded of the original Type 51 when 51133 was returned to Bith. Dubos had crafted a very aerodynamic body that was styled very similarly to the Atlantic but also incorporated unique features like the fin on the tail. The French Racing Blue finish was another at the car's origins.

Shortly after taking delivery, Bith entered the Dubos Coupé in the Paris-Nice. Upon the Type 51's return to the French capital, it was repainted a much darker blue. In this guise it was entered in the Bagatalle Concours d'Elegance by Miss France Jacqueline Ganet, who was Bith's girlfriend at the time. The unique coupé was promptly awarded the best of show award. Little over a year later, Bith sold the car.

Among its subsequent owners was Maurice Trintignant; another famous French racer.

Next the Bugatti Dubos Coupé suffered a fate all too familiar for these converted racing cars; the body was removed from the chassis. Fortunately, it was not scrapped but fitted on a replica chassis. This car was a regular sight on the American vintage racing scene.

The original 51133 was acquired by the Nethercutt Collection and fitted with a Grand Prix style body. In 2000 the opportunity presented itself to buy the Dubos Coupé body at auction.

With the help of André Bith, who by now was in his nineties, the chassis and body were reunited after being apart for nearly half a century. The work was completed in time for the 2003 Pebble Beach Concours d'Elegance where Bugatti was the featured marque. The unique Type 51 finished second in class behind one of the three original Type 57 Atlantics, which went on to win best of show.

Over the next few years the Nethercutt Collection showed the car at several other shows, including the 2004 The Quail, a Motorsports Gathering where it was awarded 'best of show.'

Especially for the Bugatti Centenary celebrations planned for the 2009 Pebble Beach Concours d'Elegance, the Dubos Coupé was returned to the highly skilled Nethercutt restoration department.

During the second restoration, the dark purple paint was replaced by a deep metallic red. The Nethercutts participated in the Tour d'Elegance on Thursday and a few days later picked up the 'best in class' (Bugatti - 100 Years of Style and Speed) award in front of the Pebble Beach Club House. It is shown above both in 2009 and in 2004.

Only very few Grand Prix Bugattis were ever re-bodied, which can quite easily be explained; Bugatti had the market covered with their own racing car derived models. The Type 35 had found its way to the road in the form of the Type 43 and the fabulous Type 55 was nearly identical to the Type 51 under the skin.

None of these, or any of the other converted Grand Prix cars, was fitted with a body quite as spectacular as this Type 51. This is underlined as much by its concours wins in period and in recent years as it is by the simple fact that the Dubos body is still around for us all to admire.


The Batmobile, as re-designed by Dick Sprang. Batman #20 January 1944.


Tuesday, November 6, 2012

John Aman the Amazing-Man


From Don Markstein's Toonopedia:

When the first Superman imitator, Wonder Man, hit the stands only 11 months after the Man of Tomorrow himself, DC Comics sued it out of existence as blatant plagiarism — which, of course, it was, since the only specification publisher Victor Fox gave cartoonist Will Eisner was to make it an exact copy.

But a few months later, as the floodgates opened and superheroes became the dominant genre of comic books, the trend followers were less precise and therefore less actionable. When Amazing-Man came out, four months after Wonder Man (and the first superhero to debut in his own title), DC had to endure him because there was no legal way to shut him down.

The hero was created by Bill Everett, who achieved greater fame the following year, as the creator of The Sub-Mariner. He first appeared in Amazing-Man Comics #5 (the first four issues had been titled Motion Picture Funnies Weekly), published by Centaur Publications and dated September, 1939.

Amazing-Man ("civilian" name, John Aman) came from Tibet, cared for by monks after his parents died. He grew up steeped in their lore, and when he came of age, was chosen by their Council of Seven to receive the exclusive benefit of their highest training and most valued secrets.

This created resentment on the part of another disciple, whose name was never given, but who became known as The Great Question . When John reached the age of 25, he was sent to battle evil in the outside world. The Great Question followed, and attempted to thwart him at every turn.

In addition to great strength and control over his body, plus certain mental powers up to and including a low level of telepathy, Amazing-Man also, through western science, acquired the power to disappear in a cloud of green vapor.

That's a Great Question.