July 15, 2018

Pictures of the First Harley-Davidson Servi-Cars From the 1930s

The three-wheeled Servi-Car was Harley-Davidson's third motorcycle purposely designed for commercial use. Before it's introduction in 1932, Harley had tried to enter the commercial market, first with the motorcycle truck and then with the package truck. Neither of these vehicles had the success that Harley was to have with the Servi-Car. It would become Harley's longest continuous production motorcycle, being manufactured up until 1973. People usually associate the Servi-Car with the 45" flathead which had powered the WLA during World War II, but this was not the only engine used to power the Servi-Car.

When the Servi-Car first rolled off the line in 1932, it was powered by the new R-series side-valve engine. The R-series was designed as a replacement for the unsuccessful D-series (also a 45" side-valve V-twin) which had been built from 1929 until 1931. Visually the two engines can be easily distinguished by their generators, with the D-series having a vertically mounted unit and the R-series with the more familiar horizontal mounting. The real differences are inside the motor as the R-series had a number of improvements made to the flywheels, crankcases, barrels, pistons, conrods and oil pump.

Like many Harley's, the Servi-Car borrowed heavily from other models, sharing many of the same parts with the two-wheeled motorcycles of it's day. It used a tubular single down tube frame with a rear subframe to accommodate the rear axle and sheet metal rear box. The rear box was available in two sizes and could be specified to include an air tank. A hand-shifted three-speed transmission with reverse mated to the R-series motor made maneuvering the 630 lbs Servi-Car a breeze.

The Servi-Car was designed to be operated by someone without any previous experience on a motorcycle, hence it's three wheel configuration. This also made it towable without the need for a trailer. Harley capitalized on this design advantage by including a front tow bar which could be attached to the rear bumper of an automobile without the need of a hitch. This option made Servi-Cars highly popular with service stations who used them as delivery vehicles. Back in the 1930s when you had your automobile serviced, the service station would deliver it to your home or work when it was completed. Having a Servi-Car in-tow allowed these deliveries to be made with just one driver who would simply unhook the Servi-Car and ride it back to the station once the customer's automobile had been delivered.










Vintage Portraits of Iranian Beauty Queens From Miss Iran Pageants From 1965 to 1978

The Miss Iran Pageant was formally started by Zan-e Rooz Magazine in 1965. The teen beauty pageant was scrapped after the revolution for obvious reasons. The former regime aimed at portraying Iran as a modern state and open to the world.

Although most Iranians were traditional, conservative and resistant to change. The beauty pageants and the women's sports program were part of the emancipation process. It was a very small step but many teenage girls and women benefited from these programs.

The government created safe havens in some areas of the biggest cities (i.e northern Tehran, affluent suburbs of Shiraz etc.) and encouraged modernity. Young women mimicked the clothing and hairstyles of Farah Pahlavi. She herself was made up and posed to look like Audrey Hepburn. Foreign press was permitted only to make reports about this segment of the society. Of course, this was neither a complete nor a true picture of Iranian society.

Sima Izadjou - 1965

Mitra Nikanpour - 1966

Shahla Vahabzadeh - 1967

Elaheh Azodi - 1968

Rita Jebelli - 1969





Vintage Sweet Love: 22 Cool Pics of Romantic Couples From the 1900s and 1910s

Love is one of the most exploited subjects in many fields such as poetry, painting, cinema, and photography. So what is love? That is a question that never has a definite answer, and perhaps the acceptable answer is the feeling of each person while in love.

Here below is a small collection of cool photos that shows romantic couples in the early 20th century. That was probably the ways they showed their loves together 100 years ago.










July 14, 2018

Timeless Beauty: 44 Stunning Photos of Audrey Hepburn in the 1970s

To Audrey Hepburn, we immediately think of a strong and glamorous beauty, an iconic beauty spanning during the 1950s and 1960s.

Audrey's career took a back seat for most of the 1970s while she concentrated on being a mother to her two sons: Sean and Luca. Although her beauty was more or less influenced by time, Audrey's fashion style has remained unchanged.

Take look at these stunning photos to see the beauty of Audrey Hepburn in the 1970s.

Audrey in Valentino, photo by Henry Clarke for Italian Vogue, October 1970

Audrey in Valentino, photo by Henry Clarke for Italian Vogue, October 1970

Audrey Hepburn in her orchard at La Paisible, her house in Switzerland, photo by Henry Clarke, 1971

Audrey Hepburn photographed by Henry Clarke in the grove of a castle near Rome, May 1971

Audrey Hepburn wearing a purple Givenchy dress is a photograph by Henry Clarke, Vogue, 1971





Donna Summer Photographed by Fin Costello, 1976

Fin Costello has earned his legendary status by creating some of the most stunning and powerful images in the world of music photography.

His work has included a range of artists such as Deep Purple, Rush, Michael Jackson, The Rolling Stones, Rory Gallagher, Ozzy Osbourne, and many more... Here are some of stunning portraits of Donna Summer taken by Fin Costello from a photoshoot in 1976.













27 Stunning Black and White Photographs That Capture Everyday Life in France in the 1930s and 1940s

Émile Savitry, born Dupont in 1903 in Saïgon was first a painter, but he had “more than meets the eye” as Claude Roy wrote it in 1972. Indeed, he “painted, took pictures, traveled. But what he was not interested in was success.” This is probably the reason why his work had a hard time to win recognition.

He studied at the Valence Fine Arts School and at the School of Decorative Arts in Paris. In 1929, he exhibited his paintings, at Zborowski’s parisian gallery and was presented by Aragon who also prefaced the catalogue. The exhibition was a success, but Savitry, friend of painters and surrealists, like André Derain, Victor Brauner, Óscar Domínguez, Anton Prinner, Georges Malkine, and Robert Desnos, liked to roam the world. He thus decided with Georges Malkine to move to the Pacific Islands to “smile to the Maohris” and devote himself to photography from then on.

Back in France in 1930, he disembarked in Toulon where he met the Manouche guitarist Django Reinhardt, who played music in cafés with his brother. Savitry took them to Paris to introduce them to the world of jazz. In the 1930s, Savitry took pictures in Le Tabou, La Rose Rouge, and in clubs of Pigalle but also in the cafés Le Dôme and La Coupole, the meeting places of artists, writers and intellectuals from all over the world. He was one of them, a Parnassian by heart. He met the Groupe Octobre, the Prévert brothers, Raymond Bussière, Paul Grimault, and Marcel Duhamel. Jacques Prévert and Savitry became close friends, and on the occasion of his last painting exhibition in Antibes in 1963, Prévert will pay him a tribute in a poem.

A special correspondent in his spare time, he photographed the Spanish refugees who migrated to Perpignan after the fall of Barcelona in 1939. After the war Savitry helped Raymond Grosset restart the Agence Rapho where he was working, since 1933 with Brassaï, Ylla and Ergy Landau. Latter joined by Willy Ronis, Robert Doisneau.

After years of collaboration with the fashion magazines Vogue, Harper's Bazaar, and Le Jardin des Modes, he took many pictures of artists and their works, of actors, and of writers: Giacometti, Prinner, Brauner, Charlie Chaplin, Edith Piaf, Brigitte Bardot at age 18, Colette, etc.

Surprised by illness, Emile Savitry, “unspecialized life worker” as Claude Roy called him, finished his life doing what he did to start his career, as a painter “too much alive to want to be an artist.”











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