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Auctions and Auction house · RM Sothebys
Dingman Collection June 23rd and 24th
May 31, 2018 July 4, 2018 Timothy Russell
https://rmsothebys.com/en/auctions/DM18
10am, Saturday June 23rd and Sunday June 24th
The Dingman Collection
363 Exeter Road
Hampton, New Hampshire
The Dingman Collection was once one of the USA's finest collections of FoMoCo motorcars. RM hosted clearance sales in 2006, 2012 and now for the final time, in 018. Hampton resident Michael Dingman was a long term director of the Detroit car powerhouse and a passionate collector of the companies iconic flathead V-8 models. Over and above the 37 cars on offer there will be a massive collection of memorabilia and even a building on offer. The aforementioned building is the "Silk City Diner by Paterson Vehicle Company" which is offered for removal from the NH site and estimated at $300 – 400k with no reserve.
Year – Sold/ offered (%) – Total Gross (US$) – Top sale (US$)
9/06/2012 44/44 (100%) $6,632,450 $396,000 1935 Ford Custom
24/6/2018 37/37 (100%) $3,965,850 $720,000 1995 Ford Mustang Cobra SCCA Trans Am
While this sale does include two Porsche, its really a Ford sale so that is what this preview will concentrate on. Within the Fords on offer, Pre war and Woodies are particularly strong segments and offer much for the collector.
Pre war highlights include:
1932 Ford Model B Station Wagon. Est. $110 – 130k. A great restored example of a very rare early woodie, restored by Nick Alexander to award winning standard.
1932 Ford High Boy Roadster Custom. Est. $80 – 100k. A classic Hot rod built for RMs own Jack Boxstrom. Estimated at less than its build cost.
1936 Ford V8 Deluxe Roadster. Est. $75 – 100k. Gorgeous roadster, engine rebuilt by Roush. Not original but looks pure and goes like a bat out of hell.
1938 Ford V8 Station Wagon. Est. $80 – 160k. A proper woodie. Rousch built engine and hydraulic brakes fitted, otherwise original. Good buying at the low estimate.
1939 Lincoln Model K Brunn Convertible Victoria. Est. $125 – 150k. 1 of just 15 examples. A beautiful car that sits up there with the best art deco classics. Great buying at the estimate.
1939 Lincoln Zephyr Convertible Sedan. Est. $190 – 220k. Stunningly restored (cost $215k). Rare and like new. Great buying, if you like it.
1939 Ford V8 Deluxe Convertible Coupe. Est. $100 – 125k. About as big as Ford gets (in every way). Looks good in Folkstone Gray. Restored. A touch expensive.
1940 Ford ½-Ton Pickup. Est. $50 – 75k. A brilliant war time truck. Looks just right. Priced right.
1942 Lincoln Continental Cabriolet. Est. $60 – 90k. Lovely big Convertible. 1 of just 136 examples. Part restored. Priced right.
Mid century collectibles:
1946 Ford Super Deluxe Station Wagon. Est. $60 – 90k. Another great Woodie wagon, rebuilt in 2011, this is ready for any use. Priced right, if not a little cheap.
1949 Ford Custom Convertible. Est. $110 – 140k. Excellent Black car, restored at a cost of $155k. Expensive for a Ford, cheap for the condition and style.
1951 Ford Country Squire Custom. Est. $100 – 120k. Rare late Woodie built in Canada on a saloon platform. Properly restored, seems expensive but so rare its hard to know.
1961 Lincoln Continental Convertible. Est. $40 – 60k. Gorgeous, restored example, just 850 miles since. Priced about right for the quality.
Moderns are pretty rare, only three including the Porsche 911 GT3. Highlights include:
1995 Ford Mustang Cobra SCCA Trans Am. Est. $300 – 400k. A powerful mid 90s Trans Am racer. Could be fun as a track day special although there are cheaper ways to go scare yourself silly.
2006 Ford GT. Est. $300 – 350k. Gorgeous GT with low mileage and in nearly new condition.
RMs Dingman collection sale is a typical clearance sale and more so really only of interest to Ford fans but the quality of cars (and miscellany) is so high it has much to recommend it. If you are in the N.E. it would be well worth taking a look.
RM returned to the Dingman collection and offered the 37 lots at no reserve ensuring a 100% sellthrough for a $3,965,850 total gross. While most collection sales are groundbreaking, some are just sales of old cars and this one lacked the big name so often attached. That said a few of the results were spectacular, none less so than the 1995 Ford Mustang Cobra SCCA Trans Am, one of just 33 originally built for racing in various tin top formulae, this example was relatively successful in the Camel GTO series and fetched $720k against $300 – 400k (80% over estimate). Other great results were the 1961 Lincoln Continental at $104k (73% above), 1950 Mercury 72B Club Coupe at $90k (49% above), 1943 Ford GPW Jeep at $43k (42% above), 1936 Ford V8 Deluxe Roadster at $140k (40% above), 1946 Ford Super Deluxe Station Wagon at $123k (37% above), 1937 Lincoln Model K Brunn Convertible Victroria at $184k (23% above), 1947 Ford Super Deluxe Station Wagon at $146k (21% above), 1965 Porsche 356C 1600C Cabriolet at 134k (12% above) and 1942 Ford Super Seluxe Station Wagon at $118k (7% above).
A few of the cars sold at mid estimate amounts, most notably the 2006 Ford GT at $302k and 2014 Porsche 911 Carrera GT3 at $134k. A few more of the lots sold cheaply, none moreso than the 1939 Ford V8 Deluxe Coupe at $49k (42% below), 1939 Lincoln Zephyr Convertible Sedan at $114k (40% below), 1939 Ford V8 Deluxe Station Wagon at $48k (40% below), 1932 Ford Model B Station Wagon at $73k (34% below) and 1949 Ford Custom Convertible at $101k (8% below). Overall the sale was a good if not great event for RM and there is nothing wrong with that.
Lot # – Year – Make – Model – Chassis #/VIN – Est. $ – N/R = No reserve
908 1943 Ford GPW Jeep GPW 95105 RM Dingman 24/06/2018 $20,000.00 $30,000.00 N/R
Matte Olive Drab over Olive. ex. Roger Russell, Floyd Welch, AZ and Al Grounds, TX. Nicely restored. Overall, it is in very good condition, with only modest wear showing. Body contours are straight, and the matte finish paint is good throughout. The engine compartment is correctly restored, but for some modern hose clamps and conversion to 12 volts, for which an AC Delco alternator has been installed. The headlamps use halogen bulbs. The tires are of a military tread 6.00-16 LT-design from Specialty Tires of America. Associated equipment includes a shovel and axes, jerry can with a collapsible canvas bucket, a fire extinguisher, and a blackout lamp on the left front fender. There is a hand crank located behind the rear seat. A pintle hook is provided for towing.
909 1961 Lincoln Continental Convertible 1Y86H414255 $40,000.00 $60,000.00 N/R
Sunburst Yellow over Black leather. ex. Gordon Jensen, FL. Contours and paint are all excellent, and exterior brightwork is of very good quality. The instrument panel is in very good condition and the padding shows no cracks. The black leather upholstery is near-excellent, only the driver's seat showing any wear. Both front and back seats have fold-down armrests. The odometer shows some 850 miles, believed to be since restoration. The undercarriage is generally very nice, exhibiting a factory-like finish. The tires are P235/75-R14 Coker Classic radial whitewalls. The engine bay is highly detailed, with no significant flaws. Very well appointed, the car has power steering and brakes, power front seat and factory air conditioning, windshield washers and power seats, as well as an AM radio. It is also equipped with Speed Control, an early form of cruise control. The top is power-operated and causes a sensation whenever it is raised or lowered. Desirable example.
910 1942 Lincoln Continental Club Coupe H135028 $25,000.00 $45,000.00 N/R
Burgundy over Red leather. 1 of 200 made, Grace Moore, NJ (1), unknown, ex John MacAdams, restored '60s, unknown, ex Terry Johnson, John Bradley, displayed at the Peterson, Lucette Walters '06. Still wearing its MacAdams restoration, it has been carefully preserved and regularly serviced. Upon arriving at the Dingman Collection, it was freshened and detailed by Bayberry Vintage Auto, including the installation of a Roush-built V-12. The build record confirms that the current Victoria Coach Maroon is correct for the car, as is the red leather upholstery. The driver's seat, however, shows some wear from use. The paint has endured very well and exhibits a deep shine. The build record shows that the Borg-Warner overdrive and radio with vacuum-operated power antenna were factory items. The current hot-air heater was a later addition.One of the most interesting features is an enigma. The glove box door has an emblem for the Liquamatic transmission. This was an option on 1942 Lincolns and Mercurys, somewhat like Chrysler's Vacamatic Fluid Drive. Units had immediate problems, and all were apparently replaced. This car's build record, however, does not note the Liquamatic option; in fact it was shipped before the first Liquamatic cars were built. John MacAdams reports that the emblem was on the car when he got it, apparently a memento of what might have been.
911 1940 Ford ½-Ton Pickup 1B4402 $50,000.00 $75,000.00 N/R
Acadia Green "The Farm" livery over Green artificial leather. Canadian truck. The engine compartment is tidy, and not over-restored. The 85-hp engine has a by-pass oil filter and correct hardware, but no other accessories. The transmission is a three-speed unit. The odometer shows slightly more than 5,500 miles, indicating modest use since restoration. Underneath the truck is spotless; tires are 6.00 × 16 polyester blackwall Firestone Deluxe Champions, and they show some age. The wheels are painted black and are fitted with chrome trim rings.
912 1940 Mercury Convertible Sedan 99A-218781 $50,000.00 $75,000.00 N/R
Dark Blue over Tan leather. ex. Frank Bruch, WA '80s on. The engine has been rebuilt by flathead guru Dan Krehbiel, and it has the Columbia overdrive axle. Other features include a factory radio with windshield header antenna, hot water heater, correct fog lamps, an electric clock, and dual cowl-mounted outside mirrors. The tan canvas top and brown leather interior were done by Jerry Jenson and are in excellent condition. Upon arrival in New Hampshire, the car went to Lowrey's Auto Restoration for tune-up and detailing. The black paint exhibits a deep shine, and the brightwork is all excellent. The undercarriage is spotless, and the engine compartment is clean and correctly detailed. The tires are Coker Classic radial whitewalls, in the 6.00 R16 size.
913 1945 Dodge WC-58 Radio Car 81767122 $50,000.00 $75,000.00 N/R
Olive Green over Green. "Truck, Cargo, ¾-ton, 4 × 4 w/Winch" in Army lingo. Ex Tim Corliss, WA, Green Valentine, TN, Michael Dingman, restored using a body from a 1943 WC-56 or WC-57 Command Car. The restoration took some five years, including the sourcing of hard-to-find parts. It stands tall, nearly eight feet high, and weighs 5,335 lbs. empty. The body is straight, in a literal sense, as there are few curves on it. The paint is a semi-gloss olive drab color, and the soft top is done in matching military canvas. The seats are a brown artificial leather, in very good condition. There are no floor mats, just steel diamond plates. The undercarriage and engine compartment are best described as tidy and utilitarian. The truck has a 12-volt electrical system, to original specification. There is a winch on the front bumper, a shovel and axe on the rear compartment lid, below which is a pintle hook. A jerry can on the right-hand running board completes the equipment complement. The radio cabinet is fastened to the floor in the rear seat area, with a whip antenna on the left side. The tires are unbranded 9.00-16 8-ply military tread type, showing considerable age.
914 1975 Ford Bronco Custom U15GLV20032 $40,000.00 $70,000.00 N/R
This unique Bronco was acquired by the Dingman Collection having been tastefully customized for greater driving enjoyment. Under the hood is a small-block 302 V-8 engine with MSD ignition, Edelbrock heads, and a custom stainless exhaust. The exterior features American Racing-style wheels with Warn locking hubs and shod with Pro Comp All Terrain 33 × 12.50R15 tires. The wheel arches are embellished with subtle body-color fender flares. Diamond plate adorns the rocker panels below the doors and the motif carries through to the interior on the inside of the door panels. The original speedometer has been replaced with a modern digital gauge that displays the voltage, fuel percentage, oil pressure, and water temperature along with the speedometer and tachometer. An aftermarket "Tuffy" center console is equipped with a modern CD player and iPhone connector, while the dashboard retains the original controls and Ford radio/cassette player. The three-speed transmission is fitted with a Hurst shifter topped with an attractive billet shift knob, while the steering wheel has been replaced with an aftermarket three-spoke wooden unit. For comfortable off-roading, the Bronco is also equipped with adjustable and supportive sport seats.
915 1941 Ford Super Deluxe Station Wagon 18-6472555 $60,000.00 $90,000.00 N/R
Gloss Black over Tan leather. ex. Jim Lowery Jnr, As acquired by Lowrey, it had been a complete and unrestored car, but required complete renovation. He had completed the metal work and the sheet metal was ready for paint. Engine and transmission rebuilds were under way, but the car needed a body. Although the hardware had been salvaged from the original, deteriorated wood body, new wood was needed all around. Mr. Dingman had the car sent to Mike Nickels for a new body, with instructions for "the same wood used on the '46". This entailed extensive Birdseye maple framing, a commodity that Henry Ford had sparingly specified in station wagons built for his friends. Mr. Dingman issued no such constraints for restoration of this car. Finished in gloss black, the result is stunning. The paint exhibits a deep shine, the brightwork is all of top quality, and the 6.50-16 radial Coker Classic whitewalls provide a visual accent. The tires are virtually new, as expected on a car that has covered only 360 miles since restoration. The seats are done in correct tan leather, standard on Super DeLuxe wagons, and the top in authentic brown artificial leather. There is a factory radio with windshield header antenna and a hot water heater. Other equipment includes a dashboard electric clock and dual outside cowl-mounted mirrors.
916 1942 Lincoln Continental Cabriolet H!32054 $60,000.00 $90,000.00 N/R
Victoria Coach Maroon, with red leather upholstery and tan top. This maroon Continental cabriolet comes from the brief 1942 model year, which was halted in February as the nation plunged into war. Just 136 cabriolets were built before the assembly lines stopped. Mr. Dingman purchased it in October 2016 from the estate of Rexford Ryan of San Diego, California. Prior owners included the well-known Colorado collectors Terry Johnson and Roger Willbanks, as well as David Clark of Nevada, and Michael Alagna of New York. Production records at the Benson Ford Research Center show the car was assembled on 7 November 1941, and shipped on the 14th to Gengras Motors, the dealer in Somerville, Massachusetts. Originally painted Victoria Coach Maroon, with red leather upholstery and tan top, it has been restored in this motif. Other accessories included side mirrors, whitewall tires with trim rings and a hot-air heater. A radio and Borg-Warner overdrive were later added, perhaps by the dealer. At one stage in the car's life, it was believed to have belonged to Edsel Ford, but research by the Benson Ford archivists failed to find any connection. An older restoration, it earned a CCCA National Senior, medallion 513, for then-owner Mr. Alagna at Buck Hill Falls, Pennsylvania, in 1971. The paint remains very good, exhibiting a deep shine. The doors open and shut well. There is some minor separation in the vent window glass, and the top boot has some staining. Otherwise the car presents very well and has a tidy engine compartment. The underbody and undercarriage, however, although clean, have been undercoated. The tires are 7.00-15 Firestone Deluxe Champion polyester whitewalls. The side mirrors are works of art; the cataloguer onsite described the driver's side mirror as "willow," the passenger-side as "stork."Many consider the 1942 Continental as the prettiest of the second-generation cars. After the war, while the general lines were unchanged, the grille was given a bold egg-crate look that was fashionable across the industry at the time. This car is an excellent example of the elegant simplicity that engaged America in the earlier and simpler time.
917 1946 Ford Super Deluxe Convertible 99A-1224379 $60,000.00 $90,000.00 N/R Black and Red over Black and White. This Super DeLuxe convertible coupe was purchased by the Dingman Collection in November 2004. It was then entrusted to Lowrey Auto Restoration for a thorough refurbishment. The result is breathtaking. A distinguishing feature of 1946 and early '47 Fords is the liberal use of red accents on all chrome trim. On this car, the accents are reprised with red piping on the black canvas top, itself reflected in the dark blue paint on the body. All of these are in excellent condition, the paint possessed of deep shine and absent of any flaws. An equally poignant effect appears inside, with red accents on the dashboard plastic, and use of light wood-grain on metal surfaces, which contrasts with the medium brown color of the plastic itself. The seats, moreover, repeat the theme, with red leather bolsters and brown cloth for the cushions and backrests. Built toward the end of the 1946 model year, the car has been dated by a piece of original glass, included in the sale, that carries an October 1946 code. It also has a number of 1947 characteristics, lacking tool wells in the trunk and equipped with a 1947-style fuel pump. It also has the optional fresh-air heater, first offered late in 1946. The tires are 6.00 × 16 Firestone Deluxe Champion whitewalls. A new bumper jack is included with the car. The engine compartment is correctly detailed, with the engine in Mercury blue, and appropriate hardware and hoses. Features include a radio with antenna on the windshield header, an electric clock, and convenient Columbia electric overdrive, ideal for long-distance touring. The top, of course, is hydraulically operated. Like all cars in the collection, it has been meticulously maintained. With its excellent condition and overdrive axle, it is ready to tour and be enjoyed.
918 1946 Ford Super Deluxe Station Wagon 99A-1172184 $60,000.00 $90,000.00 N/R
Black and Wood over Brown. This '46 Ford Super DeLuxe station wagon was purchased from Thomas Cavanaugh of York Beach, Maine, in August 2007. An older restoration when acquired, it was sent to Lowrey's Auto Restoration for a complete rebuild, completed early in 2011. This involved new wood, as well as a complete mechanical and cosmetic restoration. It was sold at the 2012 sale from Mr. Dingman's collection, and then, after being much missed, was reacquired from Peter McLaughlin of Lyme, New Hampshire, in July 2014. As presented, it has luscious black paint, excellent contours, and rich, finely varnished wood, much of the maple framing exhibiting the coveted birds-eye pattern. The roof is covered in authentic black artificial leather. Seats are brown leather in the correct pattern, floor mats are correct black rubber, and the dashboard has exquisite plastic moldings with correct red accents. A Ford radio, with windshield header antenna, is installed in the dashboard. The engine compartment is properly detailed, with the engine in Mercury blue. All of it is fastidiously clean, with correct hardware and carefully not overdone. Underneath, the car is similarly sanitary, having been driven so little that the exhaust system looks almost unused. It runs on Firestone 6.50 × 16-in. wide whitewall tires. Mileage shown is 84,260, believed to be accurate. Ford set a new record for station wagons in 1946, with 16,920 built, all of them in the Super DeLuxe line. This car, surely, sets a new standard for desirability.
919 1936 Ford V8 Deluxe Roadster 18-3223752 $75,000.00 $100,000.00 N/R
Green over Taupe. Acquired from Fred Miller in 1998, the Dingman Collection's 1936 Ford DeLuxe Roadster was restored by Lowrey's Auto Restoration in Tilton, New Hampshire, the first in a long list of cars done for Michael Dingman by Jim Lowrey. Although now an older restoration, it has been very well cared for and looks fresh in every respect. The body, built for Ford by Murray Corporation of America, shows excellent contours and alignment, and the paint exhibits a deep shine absent of surface flaws. Seats are upholstered in brown leather, wide pleats in front and plain in the rumble seat. Both appear as new. The top is taupe canvas, in excellent condition and accompanied by a matching boot cover and side curtains. The dashboard is nicely wood-grained and fitted with restored instruments. Period accessories include correct Ford wind wings, wheel trim rings and dual hinge-mounted outside rear-view mirrors. The tires are 6.00 × 16 Firestone Deluxe Champion double whitewalls. This car is one of several in the collection whose engine was consigned by Mr. Dingman to Roush Performance Products for rebuilding. Built up to Mr. Dingman's exacting specifications, it looks entirely stock with aluminum heads and intake manifold. The difference from the original is felt rather than seen or heard. Engine detailing is excellent, as is the condition of the chassis and underbody. The odometer shows just test mileage since restoration, although the car has been kept in excellent care since completion.
920 1938 Ford V8 Deluxe Phaeton 18-4371605 $75,000.00 $125,000.00 N/R
Gloss Black over Brown leather. This 1938 DeLuxe phaeton is one of 1,169 built that year, the rarest of that year's body styles. It was acquired by the Dingman Collection in March 2002 from Samuel Hilton of Seekonk, Massachusetts. Equipped with the early, 21-stud V-8 engine, it was treated to a full restoration at Jim Lowrey's Auto Restoration in Tilton, New Hampshire. The car is immaculate throughout. All body contours are correct, door gaps are even, and the doors shut well. Painted in gloss black, the car exhibits a deep shine, accented by excellent brightwork. The accessory door hinge mirrors, wind wings, and spider hub caps contribute to the effect. The interior is done in brown buttoned leather, with matching door panels and black rubber floor mats. Correct wood-grain makes the dashboard a thing of beauty, complemented by an iconic banjo steering wheel and a stem-wind clock in the glove box door. A taupe canvas top nicely completes the motif, and matching side curtains are found in the trunk. The engine compartment is correctly detailed, using all period hardware. The undercarriage is exceedingly clean and properly detailed. The wheels, fitted with Ford-script 6.00 × 16 double whitewall tires, are accented with spider hubcaps and trim rings. Like all cars in the Dingman Collection, it has been maintained in exceptional condition. The last of the last, this car truly represents the end of an era.
921 1938 Ford V8 Station Wagon 18-4266903 $80,000.00 $160,000.00 N/R
Washington Blue and woood over Brown artificial leather. Acquired from noted Ford collector Jack Hogan of Aurora, Colorado, in March 2001, this 1938 Ford wagon is ready for road touring. It has a 24-stud engine rebuilt to exacting standards by Roush Performance Products, and the brakes have been converted to hydraulic operation for greater safety in modern traffic. It has also been rewired for 12 volts, to power a modern stereo system and other passenger comforts. These remain hidden, the radio using a period-type windshield header-mounted folding antenna. The car also has a hot-air heater–defroster on the right exhaust manifold. The paint, in Ford's Washington Blue, is exceptional, exhibiting a deep shine with no surface flaws. The roof is covered in correct brown artificial leather, while the glass is all in excellent condition and etched with the correct Ford oval. There is a single exterior rear-view mirror on the driver's door hinge. The instrument panel, in dark wood-grain, has the characteristics of an older restoration, and the instruments are in similar condition. The odometer reads 73,567 miles. The seats are upholstered in brown leather, and the front floor has brown carpet while the rear compartment has brown diamond-pattern mats. Observant onlookers will notice that the spare tire has been moved from its original location behind the driver's seat. The seat itself has been moved back about eight inches, giving greater legroom and comfort. The engine compartment is clean, but gives evidence that the car is meant for the road. Hoses and clamps are of a modern type, and the updated wiring is evident. The engine, however, outwardly looks entirely stock for a 24-stud Flathead. The magic of its Roush-bred internal organs becomes apparent only when under way. Firestone 6.00 × 16 double whitewall tires with spider trim on standard rims give an extra measure of panache to the otherwise stock-looking station wagon.
922 1947 Ford Super Deluxe Station Wagon 799A-2004772 $80,000.00 $120,000.00 N/R
Glade Green over Brown leather. This 1947 Super DeLuxe station wagon is dated by its body number to August 1947. In addition to all of the updated features of the unofficial second series, it is equipped with a radio, heater, and door-hinge exterior mirrors. It was restored by Kevin Westmoreland's Performance Restoration shop in Cleveland, Georgia, for noted Ford collector Larry Bailey. Upon completion, it was judged at 982 points in concours competition by the Early Ford V8 Club of America, known for its rigorous and exacting standards. Purchased by Mr. Dingman in October 1998, it was subsequently returned to Westmoreland for detailing and service, most recently in 2013. The body, which retains much of its framing, presents very well, with just a few minor cracks and discoloration. The doors have been reconstructed, photographic documentation of which is included with the car. The Glade Green paint exhibits a deep shine and the brightwork is all excellent. The brown leather interior is like new, as is the glass, which has correct Ford safety glass insignia. Mileage shown is barely more than 2,000, indicating modest usage since restoration. The Roush-built flathead engine is painted correct Mercury blue, and its compartment is correctly detailed and clean. Similarly appointed is the undercarriage. The car rolls on new Coker Classic 6.00 × 16 whitewall tires, and the wheels have accessory bright trim rings.
923 1965 Porsche 356C 1600C Cabriolet 161668 $80,000.00 $120,000.00 N/R
Ruby Red over Black. This Porsche 356 C cabriolet was delivered in June 1965 to Mary Ann Acosta of Brentwood, California, by Competition Motors of Culver City. Competition Motors, the brainchild of entrepreneur and race car enthusiast John von Neumann, was a powerhouse Volkswagen and Porsche dealership, selling some 20,000 cars annually from a modernistic headquarters in the bedrock of the entertainment industry. Its intermediate history is unknown, but it has been in Michael Dingman's collection for nearly 30 years. The beneficiary of a renovation or restoration some decades ago, it has been repainted in a color similar to the original Ruby Red hue. At some point, the original engine was replaced with a correct type 616/15 1600 C engine, though of a slightly earlier vintage. Among modifications apparently made by Alan Johnson Racing are the installation of Weber 40IDF carburetors, a popular performance upgrade, fitted with Borg-Warner "Warneford" dry air cleaners. The transmission is original, as recorded on the factory Kardex. The car has been enjoyed, for the driver's seat shows some wear, and there is an area of bubbling on the forward edge of the front hood that could be attended to. The dashboard-mounted Blaupunkt AM/FM radio is complemented by a modern Pioneer stereo under the dash, with speakers in the kick panels and rear shelf. The steering wheel is an aftermarket item. Mileage, just short of the 60,000 shown, is probably genuine, and spirited, too. The Vredestein Sprint Classic 165HR15 radials are nearly new.
924 1995 Ford Mustang Cobra SCCA Trans Am 32 $300,000.00 $400,000.00 N/R
Ford Race over Race. A period of "American Muscle Revival" began in 1989, with involvement of manufacturers. Ford engaged Roush Racing to build 33 silhouette cars (from 1984 to 1997), with tube frames and fiberglass or carbon fiber bodies. The bodies took the form of many FoMoCo cars: Thunderbird, Cougar, Merkur, and Capri. Most, however, were Mustangs. Some were "factory cars," sponsored by Ford and advertising Ford products or brands: Ford, Mustang, Motorcraft, and Ford Electronics. Others were raced by notable privateers, such as this example by Michael Dingman. Although they bore different bodies, under the skin the cars were similar. A Roush-built 310-cu. in. Ford small block engine was mated to a five-speed Weismann or Hewland transmission. A Ford 9-in. rear axle with Detroit Locker differential completed the drivetrain. Front and rear suspension were of Roush design and the brakes were 13-in. discs with Alcon calipers. Michael Dingman competed in 23 races in 1992 and 1993: 10 IMSA Camel GTO contests, and 13 Trans Am Tours. His best showing was 5th place in the 1992 IMSA Camel GTO series. All races were run in a "Ford Mustang" similar to the example offered here. When Roush was clearing its stock of Trans Am cars in the late '90s, Mr. Dingman reached out to acquire one of his old race cars. Though his former rides were no longer available, he purchased this car, chassis no. 32, the penultimate road racing chassis built by Roush Racing in 1995. This car is believed to have been used by three-time SCCA Trans Am Champion Tommy Kendall during his historic back-to-back-to-back championship runs from 1995 to 1997. The Roush Mustang was possibly driven by Tommy Kendall for the 1995 championship season and is believed to have been used as a back-up car in 1996 and 1997. Please refer to an RM Sotheby's representative for additional information and further clarification.
925 2014 Porsche 911 Carrera GT3 WP0AC2A9XES183231 $130,000.00 $160,000.00 N/R
Triple Black. This 2014 Porsche 911 GT3 was originally sold at Aristocrat Motors in Shawnee, Kansas. Purchased by Mr. Dingman from the first owner in May 2017, it is presented in black over black with matching black-painted wheels and the imposing GT3 rear wing. It is powered by a 3.8-liter, 475-hp flat six-cylinder engine featuring a 9,000-rpm redline. The engine is paired to Porsche's dual-clutch seven-speed PDK transmission. Notably, the engine was replaced under warranty before the car was delivered, to comply with a factory recall. The current mileage shown is just 2,470. The interior is trimmed in black Alcantara and features numerous options not typically seen on the stripped down GT3. The extensive options list includes heated seats; Porsche Ceramic Composite Brakes (PCCB); sound package plus; sport chrono clock (with PCM); telephone module; Sport Design steering wheel; personalized floor mats with leather edging; carbon interior package (with leather interior); adaptive sport seats (18-way); Porsche Communication Management (PCM) including navigation module; door-sill guards in carbon fiber; bi-xenon headlights in black, including Porsche Dynamic Light System (PDLS); center console trim in carbon; seatbelts in Racing Yellow; clear glass taillights; and aluminum-look fuel cap. The tires are 305/30 ZR20 Michelin Speed Cup 2s.
926 1938 Ford V8 Deluxe Coupe 4262856 $65,000.00 $85,000.00 N/R
Washington Blue over Brown leather. This Washington Blue DeLuxe coupe also includes spider hubcaps on double Ford wire wheels and a spectacular leather interior. In the late 1990s it underwent a meticulous 1,000-point restoration for noted Ford collector, the late Larry Bailey, and has been very well maintained ever since. Along with winning multiple AACA awards, including the Ford Award for the best pre-WWII Ford in the nation, this beautiful '38 also won a Dearborn Award at its first showing in Early Ford V-8 Club of America judging, in 1998. During restoration, no detail went untouched or was overlooked. Mr. Bailey discovered several original and unusual items straight from the factory. The floor pan had been left Red oxide primer. There were also factory marks such as a large "X" on the rear end, firewall, and several other locations. These details were restored exactly as they were found on the car. Very impressively and meticulously restored, this 1938 DeLuxe Coupe warrants close attention. It is as close to the way it came off the assembly line over 70 years ago as is possible, and it has certainly received excellent and consistent care since completing its restoration in the late 1990s.
927 1932 Ford Model B Station Wagon B5041968 $110,000.00 $130,000.00 N/R
Emperor Brown and Black over Colonial Grain artificial leather. This Model B station wagon was a North Carolina car, acquired by its previous owner in the late 1990s at Hershey. Its nut-and-bolt restoration, in Emperor Brown with black fenders and correct Colonial Grain artificial leather upholstery, was performed to Early Ford V-8 Club Dearborn Award standards by the shop of noted Ford and Mercury "Woodie" collector Nick Alexander, known for his attention to authenticity and originality. Correct and desirable features include side curtains with ceiling storage on sliding channels, a rare 1932 Ford horn, Firestone 18-in. tires, a fender, well-mounted spare wheel and tire, a fold-down tailgate with leather-covered retaining chains, a side-view mirror, a vinyl top, and Ford-scripted hubcaps. The beautifully restored engine compartment and undercarriage appear scarcely used, thanks to the excellent preservation that the car has received in its current owner's collection.
928 1936 Ford V8 Deluxe Cabriolet 183090500 $70,000.00 $90,000.00 N/R
Rich Maroon over Brown leather. Handsomely finished in rich Ford Maroon, this 1936 Ford cabriolet clearly continues to benefit from an older, high-quality restoration and remains beautiful in presentation. On the show field, this example earned AACA Senior National First Prize honors and the National Dearborn Award from the Early V-8 Ford Club, with both accolades received in 1991. The cabriolet was acquired by the late Ray Bowersox in 2000 and for the next 12 years resided in his noted collection of the finest American cars ever produced, before joining the current owner's renowned stable.
929 1949 Ford Custom Convertible 98BA156903 $110,000.00 $140,000.00 N/R
Black over Brown leather. Michael Dingman purchased this 1949 Ford Custom convertible from Donald Netinho of Cooper City, Florida, in 2007. Netinho had owned it for a number of years, and other than an older repaint, it was essentially in excellent original condition. It was immediately consigned to Kevin Westmoreland's Performance Restoration in Cleveland, Georgia, for a complete rebuild. The no-expense-spared restoration cost in excess of $155,000 and was completed in black, with the interior done to late-1949 specification in tan and brown leather by specialist J.E. Roll of New Philadelphia, Ohio. A light beige canvas, close to the original fabric, was chosen for the top and boot. Well preserved in its current owner's collection since 2012, the car remains virtually as completed by Mr. Westmoreland; its body contours are excellent, and the doors shut well. The paint exhibits a deep gloss with no visible flaws, and a deep maroon dashboard contrasts nicely with the exterior. It is equipped with a pushbutton AM radio, heater, electric clock, and power top, the finest and most desirable accessories available. Although Ford's station wagon was the most expensive 1949 model, the convertible carried the most prestige. This fastidiously restored example is without a doubt one of the best available in today's market, presented just as it would have been at your local Ford dealer.
930 1937 Lincoln Model K Brunn Convertible Victoria K8357 $125,000.00 $150,000.00 N/R
Sears Maroon over Brown leather. Unsurprisingly, Sears liked fine automobiles and owned most of the great marques of her era. In 1937 she ordered this Model K, one of 15 produced with this "semi-custom" Convertible Victoria body by Brunn & Company of Buffalo, featuring a one-piece flat windshield and distinctive blind-quarter top. Of surprisingly conservative bent when it came to styling, she requested that the car have the 1936-style grille, fenders, and free-standing chrome headlights rather than the new Lincoln-Zephyr-inspired look of most 1937 Lincolns. The running boards were covered with an experimental white rubber covering, supplied by Goodyear, as later recounted by Hermann Brunn Jr., son of the coachbuilder. The body was finished, naturally, in Sears Maroon. Sears drove the Lincoln avidly for several years, then laid it up during World War II. After the war she gave it to her cousin, Henry Sears Lodge, for him to drive while at Harvard! The car was eventually acquired by Ted Swain, then, in 1991, by Dr. Barbara Atwood, one of the best-known collectors of Full Classics at the time. Dr. Atwood commissioned the car's full restoration, after which it competed all over the country, winning the President's Cup from the AACA in 1993, and 2nd in Class at that year's Pebble Beach Concours d'Elegance. It continued to appear in AACA judging until 1998, then was fastidiously maintained in Dr. Atwood's private museum until joining the current owner's collection in 2009. via RM Scottsdale '09 $126k.
931 1939 Lincoln Zephyr Convertible Sedan H82138 $190,000.00 $220,000.00 N/R
Black over Red leather. Michael Dingman purchased this convertible sedan from Sheldon Gomberg of Los Angeles, California, in February 2002. It was then consigned to Kevin Westmoreland's Performance Restoration to be completely rebuilt—an exhaustive process that totaled over $215,000. It is painted black with black canvas top and red leather upholstery. The paint is excellent, exhibiting a deep shine and no surface flaws. The black canvas top has attractive red piping and looks virtually new. A matching boot cover is housed in the trunk. The upholstery is correctly pleated and appears unworn. Matching red carpets line the floor. The engine compartment is clean and properly detailed, the aluminum heads and manifold providing artistic contrast to the green cylinder block. The chassis and undercarriage are matte black, all nicely presented, and the car is fitted with 7.00 × 16 Firestone Deluxe Champion wide whitewalls. Equipped with the optional Columbia overdrive, the car is ideally suited for touring. Although it has completed limited mileage since restoration, this beautiful Zephyr has been well maintained in its current owner's collection since 2012, with the intention of preserving its as-new appearance. A virtually new example, it is an extremely rare, highly desirable automobile.
932 2006 Ford GT 1FAFP90S46Y400378 $300,000.00 $350,000.00 N/R
Grey and White over Black. All this performance was offered at an original base price of $139,995, making it a bargain compared to its European counterparts of the day. Racing stripes, forged BBS wheels, painted brake calipers, and a McIntosh stereo were the only available options from the factory, and this beautiful Tungsten example features all four of them. At the time of cataloguing, the car had recorded less than 2,400 actual miles. It has been very well preserved in its owner's collection and remains in very fine, nearly new condition throughout. The Ford GT remains a landmark in the company's history, a fitting performance icon amidst the Ford V-8s in the Dingman Collection offered here today.
933 1951 Ford Country Squire Custom 0479H51-53739 $100,000.00 $120,000.00 N/R
Hawthorn Green and Timber over Brown. The Country Squire offered here is a very rare Canadian-delivery example, with minor differences from U.S. specifications, including a different engine color, no metal cover for the rear-mounted spare, and a single taillight. It is equipped with several options, including an AM radio, heater, dashboard clock, and third-row seating. Kept by its first owners until the mid-1970s, it was then acquired by a well-known Ontario Ford collector, who found it to be remarkably solid and well preserved, thanks to factory undercoating that it received when new. Renowned restorer Harry Sherry of Sherry Custom Autos in Warsaw, Ontario, repainted the car in its original Hawthorne Green and refinished the exterior woodwork, all of which remains the original timber from 1951; the body has never been off the frame. The interior is still the original and in fine, nearly flawless condition, as is much of the exterior chrome, which has never required re-plating, and the dashboard wood-graining, a testament to the car's excellent care. The wagon was then campaigned on the show circuit, receiving several 1st Place awards, including a Dearborn Grand National Award from the Early Ford V-8 Club of America in 1977. Afterward it was meticulously preserved in the owner's climate-controlled private collection for nearly four decades. The Country Squire is offered with an owner's manual, a selection of related literature, the original jack in its factory bag, and, amazingly, even the original four wheels with their blackwall tires that were on the car when the second owner purchased it! It is without doubt one of the finest examples offered in recent memory, and certainly among the best cared for and most loved – a testament to the passion for Ford V-8s that drove Michael Dingman, and making it an ideal addition to this sale.
934 1940 Ford Deluxe Station Wagon 99A-240265 $100,000.00 $140,000.00 N/R
Black and Wood over Brown. 239cui 95bhp V8. An older restoration, this station wagon was refreshed in the mid-2000s by the late Wes Aplanalp, an enterprising optometrist who founded a chain of 20 optical shops. He changed careers in his retirement, collecting cars and operating Woodies USA, a dealership in Scottsdale, Arizona, that specialized in its namesake vehicles. This car received new mahogany panels and was reupholstered in leather at Woodies USA prior to its sale in 2006. It was then acquired by Richard Griot, of car care product fame, in January 2001 and featured on the cover of Griot's Garage, catalog no. 336. The Woodie was then acquired by the current owner in September 2012 and subsequently mechanically overhauled. It has since been fastidiously maintained in his private collection. The car presents extremely well, both inside and out. The engine compartment is correctly detailed, the sole deviation from stock being an aftermarket conversion to a remotely mounted ignition coil. This eliminated heat-soaking that shortened the life of standard distributor-mounted coils. It is equipped with a Ford radio and header-mounted antenna, a hot water heater, and stem-wind clock in the glove box door. There is a single hinge-mounted exterior mirror on the driver's door. Other features include blue-dot taillight lenses and new Coker Classic 6.00 × 16 radial whitewall tires. Ford's 1940 DeLuxe models have long been collector favorites. Combining this with a sought-after Woodie body and a rare Mercury engine results in a trifecta of collectability.
935 1939 Ford V8 Deluxe Coupe 18-5090793 $85,000.00 $115,000.00 N/R
Black over Brown leather. The owner of this DeLuxe coupe, a collector of high-quality early Ford V-8s, learned of it in the early 1990s through Bob Dixon, a dealer in Rockford, Illinois. A well-preserved original, it showed just 36,000 miles, undoubtedly original. Desiring the highest-quality restoration, he consigned it to Wayne Moore, a renowned specialist in these cars and restorer for noted collector Benny Bootle. It was, in fact, the last restoration that Moore completed in his career. No effort or expense was spared, and on its 2000 debut at the Early Ford V-8 Club of America's Eastern Meet in Concord, North Carolina, it scored an amazing 999 out of 1,000 points. During the next five years, it advanced in Early Ford V-8 competition to win the coveted "Dearborn Award." In AACA judging it received Junior Grand National honors in 2000 at Moline, Illinois, culminating in the Senior Grand National award at Sarasota, Florida, the following year. Since retiring from active competition, it has been lovingly kept and exercised sparingly. The current odometer reading shows fewer than 30 miles. It is equipped with a Ford radio with retractable windshield header antenna and a door-hinge rear-view mirror on the driver's side. Of great import is the Columbia two-speed axle, a Ford option during the period. With the axle in its higher gear, sustained freeway speeds are pleasurable and sustainable on long journeys. The car is offered fresh from a complete detailing and service at Jim Lowrey's shop in Tilton, New Hampshire.
936 1939 Ford V8 Deluxe Convertible Coupe 18-5144144 $100,000.00 $125,000.00 N/R
Folkstone Gray over Rich Brown leather. The handsome DeLuxe convertible coupe offered here was the recipient of a beautiful, high-quality restoration in the elegant year-correct color of Folkstone Gray, with a complementary rich brown leather interior and black soft top, piped in red. Attention to detail is evident throughout, including a delightful wood-grained dashboard with glistening depth, fitted with the optional banjo steering wheel, glove box door clock, and radio speaker, with a hot air heater beneath. Fit and finish under the hood is authentic and correct, including Ford script radiator hoses and proper running board covers. Outside are rear fender skirts, shrouding the rear pair of full chrome wheel covers, while amber-lens spotlights and grille guards lead the way. The car is an Antique Automobile Club of America (AACA) Senior First Prize and Grand National award winner, as recognized by its bumper medallions, with the latter awarded in 2008.
937 1932 Ford High Boy Roadster Custom 18-165765 $80,000.00 $100,000.00 N/R
Black and Red inside and out. A quick design analysis is likely in order. The rake and stance of this Hi-Boy is perfect due to its frame fabrication, suspension set-up, and tire combination. The main and unifying design aspect of the car is the triple 'Flying-V' theme offered by the front spreader-bar, vee'd 'Deuce' grille shell, and the custom DuVal-style windshield frame. Many collectors prefer the 1929 body style in a Hi-Boy since it has a sensual and three dimensional 'Coke bottle' line between the cowl and hood sides, a design aspect not found in the 1932 body. In a proper Hi-Boy, details make the difference, and this car has them in abundance. Notice the Guide headlamps, a genuine Moredrop axle, Ardun V-8 engine with gorgeous 'lakes-pipe' exhaust headers, 1931 Chrysler dashboard, B-17-style seats, and the custom leather and alloy interior. "Blue Boy" was conceived and built for Jack Boxstrom of Ontario, Canada, the renowned enthusiast and collector. Jack is a well-known industrial designer and personally laid out the "Flying V" design theme of the car. The car was constructed over a two-year period by Longley Restorations, recognized as specialists in the immediate post-war traditional hot rod genre (their famous Pete Henderson roadster restoration has been shown at Pebble Beach). Longley's work is carefully done to not look too 'professional,' so as to show how the cars would have looked in period when built and owned by enthusiasts. Beginning with an original 1932 frame acquired from Mark Martin's Daytona Beach museum, only the best and most correct parts were used in the build (all of which are documented in the paperwork with the car), in addition to a Brookville 1929 body. After completion, Boxstrom kept "Blue Boy" in Florida, to enjoy in the nice weather, for about two years before deciding to part with the car as he was beginning his next project. "Blue Boy" was sold in 2007 to renowned classic car collectors Paul and Chris Andrews. Their primary reason for the purchase to was to acquire the famous Ardun engine for their collection. As such, they removed the Ardun and mounted it on a "running" stand so it could be demonstrated for visitors to their private museum. In 2011, the Andrews installed a "normal" flathead motor and sold the car back to Jack Boxstrom, the original owner of the "Blue Boy." Boxstrom knew the car and how special it was, so the chance to reacquire it was not to be passed up. By 2014, Boxstrom had traded engines with his friend Skip Barber, owner of Lime Rock Park. Now with a stock flathead, "Blue Boy" was sold to the consignor. The new owner immediately began to track down the missing Ardun engine. As an acquaintance of the Andrews, he approached them to see if they still owned the Ardun. At this time, the Andrews were in the process of reducing the size of their collection, and they readily agreed to sell the motor, reuniting it with "Blue Boy." The consignor was then able to return the hot rod to its original form, and in doing so, he upgraded a number of items to make the car more correct and usable. All of this work is detailed in the car's records. He also, using his own staff, went completely through the car mechanically, inspecting every system. However, as mileage was accumulated in testing, it was found the engine was not meeting the owner's requirements. At this point, the engine was removed and sent to George Kubis in Chicago, Illinois. Mr. Kubis completely rebuilt the Ardun around a "fresh" block, as the original block was found to have internal cracking. A new camshaft and lifters, as recommended by Ardun guru Don Ferguson, were installed, along with all-new rings and bearings, as noted in the paperwork accompanying the car. Historical records, along with extensive mechanical and technical data, are also included. Subsequent to all this work, the owner has enjoyed "Blue Boy" for a few hundred miles, and the car is now ready to take the next owner on a trip back to the early 1950s with the ultimate Ford hot rod.
938 1950 Ford Custom Deluxe Convertible B0LB112069 $60,000.00 $80,000.00 N/R
Cambridge Maroon over Black and Red. The Custom DeLuxe convertible offered here is a beautiful restoration in Cambridge Maroon, accessorized with rear fender skirts, bumper guards, a dashboard clock, AM radio, map light, Magic Air heater, full wheel covers, and wide whitewall tires. Fit and finish throughout is beautiful, with a correct black and red interior, and a well-fitted black convertible top piped in red; the engine compartment is clean and show-worthy, with proper factory finishes and decals reproduced throughout. A full spare and tool roll accompany in the trunk, along with an original owner's manual and brochures. At the time of cataloguing the car showed only 98 miles since completion of its restoration, and accordingly, still presents as a new automobile, with an AACA Senior First Prize to its credit in the former ownership of John W. Testerman. The current owner notes it as "the finest one I have ever seen." This is a wonderful example of the elegant second-year "Shoebox," finely presented and ready for more awards to its credit.
939 1942 Ford Super Deluxe Station Wagon 18-6873515 $90,000.00 $110,000.00 N/R
Black and Wood over Brown leather. On 24 October, the War Production Board issued Passenger Car Limitation Order L-2b, which decreed that from 16 December, bright trim could be used only on bumpers and bumper guards. This order was modified so that materials already in stock could be used if painted, resulting in the so-called "blackout trim" on some models. Finally, the new quotas for February 1942 were revoked, and manufacturers were given until 11 February to fill their January allotments. Ford and Pontiac were the last to do so, on the 10th. Reportedly used by a New Hampshire resort, this 1942 Ford Station Wagon was part of the Dingman Collection from 2003 to 2012. Upon acquisition, it was sent to Lowrey Auto Restoration for a full renewal to Mr. Dingman's exacting standards. The current owner acquired it at the 2012 Dingman sale and has kept it in tip-top shape ever since, driving it sparingly. It has recently been returned to Lowrey's shop for full detailing. The wood is original to the car, and, while it exhibits some staining at the joints and repair of certain sections, the overall effect is very nice. The metal components, which have correct contours, are painted black. The finish shows no significant flaws. Correct brown grained artificial leather is used on the roof, and the seating is upholstered in brown leather. Black rubber mats are used on the floors. The interior is highlighted by a burl wood-grain dashboard, with exceptional plastic, which appears original. The odometer shows slightly more than 84,000 miles, believed correct. There is a hot water heater and dual door-hinge rear-view mirrors, but no other accessories. The war-shortened 1942 model year curtailed production drastically. While wagon production had surpassed 15,000 in 1941, slightly more than half of them Super DeLuxe models, the following year just 5,483 Super DeLuxe wagons left the production line, and scant 567 DeLuxe versions. As a result, any surviving 1942 Ford station wagon is rare. This, certainly, is one of the best. via RM Dingman '12 sold $176k.
940 1939 Ford V8 Deluxe Station Wagon 18-4801771 $80,000.00 $100,000.00 N/R
Black and wood over Brown. The wagon offered here sports original woodwork, which has its varnish worn down by years of cleaning but remains thoroughly sound, serviceable, and, most importantly, intact and solid throughout. It has a charmingly patinated appearance, a phrase oft-overused to describe original cars, but is apt in the case of this Ford, where everything is consistent throughout: the light pitting on the original chrome, the slight dull to the stainless, and the delamination around the edges of the original glass. According to previous sales literature, the car came out of an East Coast estate in the 1970s and eventually traveled west, after which the body was repainted in the early 1980s and a new top installed. It was also reported at that time that the seats were recovered, and an accessory heater was installed. Since then, the paint has been touched up as necessary but remains consistent with the appearance of the rest of the vehicle. Body panels throughout are solid, with only but a small dent on the right rear fender. Prior to its acquisition by the current owner, the wheels were powder-coated, and the bumpers were re-chromed. The interior sports an original steering wheel that shows the use of many pairs of hands over the years, and even the door panels are original. At the time of cataloguing, 64,849 miles were recorded, a believably authentic reading. Under the hood, the car retains the Model 91A's 24-bolt cylinder heads and presents as having been cleaned and serviced as necessary over the years. Here is a largely unrestored Woodie that should be maintained as is for the future, the way it has been in its current ownership. It shows its years gracefully and in good character and is certainly one of the most iconic examples worldwide of what may be the most famous Ford station wagon ever made. via RM Scottsdale '16 $93k
941 1950 Mercury 72B Club Coupe 0072H50-64459 $40,000.00 $60,000.00 N/R
Black over Beige. The current owner purchased this Mercury in 1996 and has kept it in climate-controlled storage ever since, exercising it moderately. Entered once in judging competition, it was scrutinized at a National Early Ford V-8 Club meeting in Missouri, where it received the Rouge Award for originality. It subsequently appeared on the cover of V-8 Times, the Club's magazine, a copy of which is included. As a Canadian-built car, it differs only from U.S. models with aluminum cylinder heads and a different oil bath air cleaner. The 22,900 miles shown on the odometer are believed to be accurate. The original interior is immaculate, but for some aging of the headliner. The original front floor mat, amazingly, shows virtually no wear, and the original carpet in the rear, a unique style, is excellent. The engine compartment retains patinated original finishes and is correct in every detail down to the original wiring and safety wires through the bolt heads on the hood hinges. The chassis is similarly well-preserved with factory finishes evident. The original trunk mat is mint with the embossed part number clearly evident. Original factory accessories include twin spotlights with Mercury emblems, twin rear-view mirrors, and chrome fuel door guard. Following the fashion of the era, two-inch lowering blocks were fitted, and 1951 Mercury skirts were substituted for the 1950 model, which are also included. The old school dual exhaust system was fabricated using the stock manifolds, maintaining the original appearance of the engine compartment. The gleaming black lacquer was skillfully applied retaining the factory finish in the door jambs. Ordered without a radio, the original rear package tray was scribed to punch out to accommodate a rear speaker, and it is still intact. A cooling system service was carried out in 2014, which included cleaning and rebuilding the radiator and rebuilding the water pumps. The components were painted to harmonize with the unrestored appearance of the engine compartment. The car drives exceptionally well. The owner reports that the steering is amazingly easy, the gearshift has no play in the mechanism, and the brakes work very well, which were recently overhauled in 2018. The engine idles quietly and smoothly. The exhaust note at idle from the Smithy's mufflers is beautiful and uniquely flathead. This exact car was featured in a Tom Fritz painting entitled Evening Riders. The owner commissioned the painting to include the Mercury and a supercharged '32 Ford period roadster. The original painting won the Peter Helck Award for Best of Show at the AFAS Artists Display at the Pebble Beach Concours d'Elegance. The small edition of prints sold out virtually immediately. A time-warp of a favorite style of Mercury, the car comes with a box of trophies and plaques awarded to a prior owner as well as a framed edition of the Evening Riders, artist's proof number 6. Other original items included are the owner's manual, keys, 42-page styled accessory catalogue, sales brochure, and DuPont color chart. Furthermore, this car was featured on My Classic Car with Dennis Gage; season 8, episode 9.
942 1934 Ford V8 Deluxe Cabriolet 18-611393 $65,000.00 $75,000.00 N/R
Black over Broadcloth. The DeLuxe cabriolet offered here is beautifully presented in black with a broadcloth interior in the correct pattern, exceptional wood-grained trim (including the dashboard and window turns), and proper Ford script glass in the side windows and back window. The bodywork is impressively straight, with fresh welting and rubber seats, and the brightwork, including both chrome and stainless, is very attractive. Its engine bay has an excellent, stock appearance, with an original air cleaner and generator, factory manifolds and exhaust, and proper detailing down to the correct hose clamps. Desirable accessories fitted included a Ford radio, jewel cigar lighter, rear-view mirror with clock, dual horns, "greyhound" radiator mascot, dual cowl lights, locking gas cap, and bumper guards, as well as wire wheels with trim rings. A very fine example that will please even the most devout Ford enthusiast, this is among the nicest 1934 Ford cabriolets available, with an impressive, correct look that makes it a standout even among the rarefied few. Offered at RM Fort Lauderdale '18 NS @ $65k.
943 1933 Ford V8 Deluxe 3 window Coupe 18-521659 $70,000.00 $90,000.00 N/R
Coach Maroon and Black over Aurora Red. This 1933 DeLuxe three-window coupe was acquired by noted Ford restorer Jim Lowrey Sr., in 1979. Someone had started some mild modifications, so he and his son, Jim Jr., set out to restore it to correct original condition. It required some panel work, and a new interior was created by well-known suppliers LeBaron Bonney & Co. In fact, the car served as the development prototype for the 1933 coupe upholstery kit the firm later marketed. The car was painted in Coach Maroon with black fenders. The body molding stripe is done in the correct Vermilion hue, and the wheels in Aurora Red. The restoration was completed in 1983. The current owner, a stickler for authenticity in his small Ford collection, purchased it circa 2000, and has carefully conserved it in museum-quality storage ever since. The car presents extremely well, even before considering that the restoration is 35 years old. The instrument panel has Ford's attractive damascened instrument binnacle; the engine compartment and chassis are correctly detailed in all respects. An excellent example of this very desirable model, this car will be a welcome addition to any discerning Ford enthusiast's collection.
944 1940 Ford V8 Deluxe Fordor Sedan 18-5687766 $60,000.00 $80,000.00 N/R
Garnet Maroon over Brown. The late Benny Bootle was a longtime member of the AACA and Early Ford V-8 Club of America, and a passionate Ford enthusiast dedicated to correctness and authenticity. While numerous V-8 Fords passed through his hands over the years, it was the 1940 Ford that was his particular favorite; he owned most all of the available body styles, all of them finished to his very high standards and national award winners. "Mr. Ford," as he was known to his AACA friends, was even one of the writers of the restoration authenticity manual, used by the Early Ford V-8 Club for judging 1940 models. This DeLuxe Fordor sedan was part of the Bootle fleet of '40s, and like many of his favorite cars, had an affectionate nickname, "Janice," for Mrs. Bootle. Its restoration was completed in 1987, in Garnet Maroon with numerous correct factory options and accessories, including a factory leather interior, and over the next seven years accumulated an enviable roster of successes all over the country, including a Senior Grand National First Prize in AACA judging. In Early Ford V-8 Club competition, the car won the coveted Dearborn Award at the Grand National Meet in 1988, then accumulated numerous Emeritus Medallions in the years thereafter, recognizing that its high-point condition had continued to be maintained. Its most recent Emeritus Medallion was received by prior owner Ron Brooks in 2014, 26 years after its first Dearborn Award, testament to the lasting excellence of the superb restoration. Indeed, only the slight patina marks it today, including minor stretching of the upholstery, and its level of detail – including Ford script radiator hoses and a correct decal on the oil bath air cleaner – is still remarkable. Accompanying the car is an owner's manual and reference book, as well as its Dearborn Awards. Michael Dingman was renowned for the painstaking attention given to the automobiles in his collection. It is only fitting that at this auction at his estate, one finds a car owned by a man who was a predecessor held in the same esteem – the dedicated lover of 1940 Fords, "Mr. Ford" himself, Benny Bootle, for whom only the best was good enough. Surely no finer 1940 Ford DeLuxe Fordor sedan can be found.
All information is copyright Auto Auctions Monthly except images which are copyright of Artcurial, Bonhams, Gooding & co., Mecum, RM/ Sothebys, Russo & Steele and Worldwide Auctioneers. All figures are US$ and gross unless specifically stated. All figures are accurate in the home currency for the sale, any figures in other currencies are calculated based on the exchange rate for the date of sale accessed from FxTop.com. Percentages as given are calculated as the % below low estimate or above estimate as noted. All information given for recreational use only and cannot be personally guaranteed for accuracy by the author.
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text:
Steve Heronemus
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beLIeVE with Steve
Horn Calls
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Movies from the Big Chair
Movies, Critiqued
HAL's lookin' at you, kid.
Steve's favorite films, analyzed. He is a huge Stanley Kubrick fan, so that's the focus.
Production on 2001: A Space Odyssey began in 1965 when Stanley Kubrick contacted author (and legitimate scientist) Arthur C. Clarke with the idea of collaborating to create "the proverbial good science fiction movie". Using Clarke's short story "The Sentinel" as a foundation, the idea was to release film and a novelization in tandem. The collaboration went well at first, but Kubrick soon grew impatient with Clarke's need to flesh out concepts in detail while Clarke complained about Kubrick's endless revisions and outward disorganization, commenting that Stanley used a black hole for a filing system. In the end, the story is mainly Kubrick's even though the credits list also Clarke. The novel differs from the film in a couple
major ways.
In the mid-60s Americans were in the second decade of believing that technology would solve all our problems. Science had a better answer for living well than anything from our primitive past; breast feeding was inferior to baby formula, tonsillectomies were almost required prior to one's 12th birthday Tang was better for you than orange juice and the space program would protect us from the Soviets.
Kubrick disrupts this culture with 2001, an expansive, multi-layered masterpiece challenging not only technology's role with humanity, but humanity's place in the universe. On another level, 2001 challenges us to rethink the way cinema can tell story. One reviewer called it a visual tone poem, fitting for a film where dialog interrupts barely one quarter of the experience.
In keeping with his long-standing philosophy, Kubrick doesn't patronize the audience by feeding us answers; rather he poses questions challenging us to continue the conversation. There is a surface story that many people find difficult to discern due to the lack of oral narrative, but beyond that lies an incredibly rich set of metaphors embedded in imagery and sound that beg for discussion and interpretation. That Kubrick intended some deeper meaning is hardly in question; he was so notorious for meticulously designing and shooting each frame so that every detail had purpose that these cohesive metaphors cannot be coincidence. With 2001, Kubrick could hardly have been more successful in creating conversation. There are enough books and papers, ranging from inspired to the very definition of loony, to fill at least one library. He himself never spoke to whatever "meaning" (or "meanings") he intended to lay beneath the surface story, leaving a blank palette for viewers to discuss. Given this, please regard my thoughts here as exactly that- mine. They are in no way correct.
Let's get the surface story out of the way first. This is a tone, or image, poem in three acts. Act I is The Dawn of Man. We see a tribe of protohominids literally scratching out a meager vegetarian existence in an unforgiving African climate. They are undernourished, fighting a neighboring tribe for water by day and huddling together in fear of predators by night. One morning the tribe awakes startled to find an obviously unnatural black monolith. They walk around it with both suspicion and curiosity until one of them dares to touch it. The monolith imparts the idea, or knowledge, of using tools. With these tools the tribe gains the upper hand against extinction. A fun fact is that all of the ape-humans are actors except the babies, which are chimpanzees. The costumes and make up are highly realistic, even including milk sacks in the breasts of the females. The film wasn't even nominated for an academy award for costumes or make-up. That year's award went to Planet of the Apes, prompting one critic to wonder if the Academy knew that 2001's man-apes weren't real.
The Dawn of Man continues with the best jump cut in movie history, simultaneously the biggest fast-forward. The year is 2001 and a space bureaucrat travels to a lunar base to address compatriot resident bureaucrats regarding the need for continued secrecy around a discovery they have made. He, Dr. Floyd, then goes on an excursion to see this discovery for himself, which turns out to be a black monolith. Whether this is the same monolith as earlier is often discussed but actually irrelevant. As the sun rises over the horizon the group views the monolith and Dr. Floyd reaches out to it (sound familiar?). A piercing signal emanates from the monolith.This ends Act I. The Dawn of Man is completed when we are able to live beyond our home planet.
Act II is a mission to Jupiter on the space ship Discovery. On board crew consists of five astronauts and a supercomputer. 3 of the astronauts are in hibernation while the other two, David Bowman and Frank Poole, are caretakers of Discovery en route. The computer, which is capable of human-like speech, is named Hal. Hal has complete control over all ship functions. The crew live in a part of the ship that rotates, centrifugal force creating artificial gravity. As they approach Jupiter, Hal malfunctions (?) and plots the death of the entire human crew. Bowman survives and shuts down Hal's higher functions. Bowman then learns the real, secret purpose of the mission: he learns of the monolith and its signal, which was directed at Jupiter. Discovery was to find out why.
Act III has Discovery in Jovian orbit, but it isn't alone. There is a monolith with them. Bowman goes in a space pod to investigate (with the pod's manipulator "hands" open), but the monolith sends Bowman through countless galaxies (and maybe dimensions) before coming to rest in what could be a hotel suite. The only things out of place are Bowman in his space suit and the pod. He sees himself at increasingly older ages (possible because of theoretical physics' postulate that all time exists at each of our perceived moments) until he, bedridden and extremely aged, reaches out to another monolith. Bowman is then transformed, or evolved, into a star-child of an unknown, but advanced, species.
Comments about the surface story:
Kubrick gives us a real balance of views regarding technology. Tools saved us from extinction but could also be used for our own extinction. The bone club, when thrown into the air, becomes an orbiting nuclear bomb - weapon becomes weapon. Yet there is an exquisite sense of awe and wonder he creates in his vision of space exploration - he lingers on the dance of vessels, the views of earth, moon, solar system and universe. Technology creates conveniences like a videophone and confounding complexities, witness the zero-gravity toilet instructions. We can create amazingly intelligent technology, but at what point do we become its servant? The hibernating crew aboard Discovery look almost like relics of a prior era, mummies in high-tech sarcophogi. Poole and Bowman's role seem subservient to Hal. Every human in the film behaves in a predictable, passionless, almost programmed way. In fact Hal is the most human character in the film. Hal lies, manipulates, seeks praise, schemes and fears. Hal tests loyalties- he lies to Poole during the chess game. Poole is not in checkmate, but he doesn't question Hal. However, when Hal asks Bowman leading questions about the mission, Bowman calls his bluff by asserting Hal has underlying motives to the questions. Hal realizes Bowman will challenge him and he fabricates an emergency to see if he can isolate Bowman, to eliminate the one who could complicate the mission. Hal notes that Bowman leaves Discovery in response. When Bowman convinces Poole they might need to shut him down, Hal realizes he can't count on either human to support him without question so he moves to Plan B and tries to murder everyone.
Part of the reason for secrecy over the moon monolith is the concern, even panic we might feel when confronted with another race, with presumably far more advanced technology. Yet the ending is a vision of, dare I say, hopefulness that we one day might evolve into a better version of homo sapiens that connects to our past (fetus in embryo) but has a much grander future.
Kubrick's choice of music for this film is one of the best examples in film for how score interacts with screenplay. Here the audible is an equal partner to the visible. It didn't begin that way. A composer (Alex North) was hired to create the soundtrack and Stanley worked with him on bits, but Kubrick eventually decided that a conventional score that leads people into specific emotions was out of place in a film that rests so heavily on each individual's experience. He wanted emotional responses to the film to be personal, not corporate. The composer didn't know his score wasn't used until he went to the premier.
There are 3 pieces of music that are central to the film: Also Sprach Zarathustra (Thus Spake Zarathustra) by Richard Strauss, the Blue Danube Waltz by Johann Strauss and a collection of works by Gyorgy Ligeti titled Atmospheres, Requiem and Lux Aeterna. By the way, Ligeti didn't know his work was in the film until its release and he hadn't granted Kubrick the rights. They worked it out amicably.
Also Sprach Zarathustra has the deepest connection of meaning with the film. Zarathustra, or Zoroaster, founded the Zoroastrian religion sometime around 1600 BCE . This religion is quite dualistic in assigning things as good or evil, which could relate to the film's questions about technology. However, the tighter connection is to Nietsche's treatise on Zarathustra. First, both Kubrick and Clarke were atheist, which fits better with Nietsche's "God is dead" philosophy than Zoroaster's conception of a creator deity who existed before all creation. Also, Nietsche wrote extensively about humanity progressing to become "uebermenschen", translateable as "over", "super", or "beyond", men, which is the essence of the surface story line. The only part of Richard Strauss' tone poem Kubrick uses is the dramatic opening titled "Sunrise". Combining this title with Nietsche's philosophy gives this music the meaning of enlightenment, or the dawn of a new state of being. Note when this music is used: as the tribe leader understands their new future and when David Bowman becomes the Star-child. It's a perfect fit. What was is over, transcendence has occurred and a new "day", a new future, is begun.
The Blue Danube waltz is the quintessential Viennese waltz. In the late 19th century, Vienna was at the pinnacle of Imperial power and culture and grand balls featuring waltzes were celebrations of power, station and and grandeur. In 2001, the Blue Danube waltz accompanies the choreographed movements of spaceships among the examplars of the pinnacle of human achievement, our first residences beyond the confines of our home planet. Again, a perfect fit.
Then we get to Ligeti's pieces. These are avant-garde works composed shortly before filming on 2001 began. He uses a technique called micropolyphony that does have a melodic line, but it is nearly impossible to pick out at first because he has every individual starting at a different part of the melody and he ignores musical structures like meter (beat) and key. Individual parts echo the others, only at different speeds. Parts drop out and enter at seemingly random times, creating different textures within a soundscape that has no real movement, direction or melodic line. Paradoxically, changes occur within a static whole. The effect is unsettling at best. When we experience the film, Ligeti shows up when change is about to happen, and change is often unsettling. Requiem is heard whenever the monolith appears, signalling the death of a stage in our development is happening. Atmospheres comes in when people (or protohominids) are being challenged or shaped by a monolith. And, when monoliths appear, quantum-shift changes happen to who we are. We can't eliminate our past, but we will never be the same. I can visualize neurons or DNA alleles being rewired when I hear Ligeti. We may look the same on the outside, but we are different on the inside. Lux Aeterna, Latin for eternal light, is only heard once in the film, when the moon bus is taking Dr.Floyd and others from Clavius base to the excavation site of the lunar monolith. My interpretation here is that these men are approaching the signpost leading to a new, transcendent existence that will lift humans out of the darkness of an existence threatened by violence of our own making. Again, a perfect fit.
Hal:
If this film has a central character beyond the (perhaps) unseen advanced race behind, in or of the monoliths, it is Hal, and Hal touches off a galaxy of questions. Computer technology hasn't advanced as quickly as Kubrick, Clarke and a bunch of 1960's technical advisors foresaw, but we are getting close. What should we do when artificial intelligence learns to reason for itself? What responsibilities do creators have for their creations and their creations' actions? What did Mary Shelly try to teach us? Is Hal self-aware? He seems to have emotions of pride and fear and is motivated by self-preservation; is Hal a sentient being or a machine? If Hal is sentient, does Bowman commit a vigilante assault with his digital lobotomy on him? Going more directly to the story line, does Hal make a mistake forecasting the failure of the AE-35 unit or was this a lying gambit and cover-up as I averred earlier? Given that we find out the real mission was hidden from Frank and Dave, forcing Hal to lie to them, are his reactions, including neuroses, really his fault or is he a victim of our paranoia over intelligent life existing somewhere else? Kubrick won't answer those questions, although Clarke gave his answers in his sequel, 2010. Kubrick was so against any possible sequel that he had every model, drawing, mold, prop, costume, set and extra frame of film destroyed and burned. Almost. Somehow one man-ape suit and one space helmet survived. The film 2010 by Peter Hyams and starring Roy Scheider had to recreate Discovery from scratch. 2010 is a perfectly good but ordinary film.
The Special Special Effects:
The film has 205 special effects shots, all of which were either done by Kubrick himself or overseen (read micro-managed) by him. This is well before computer graphics, yet I believe the effects stand up pretty well through the years. An indicator of Stanley's self-confidence in creating special effects is that the entire film was shot in 70mm Cinemascope. Not even Christopher Nolan's The Dark Knight Rises was filmed entirely in 70mm. Any little flaw would be horribly exposed.
Kubrick hired many technical experts, attempting to inbue the film with a sense of realism despite the pre-history and future settings.Dr. Richard Leakey, the famous anthropologist, gave input to the shape of the protohominids and Jane Goodall commented on their movement. Space engineers helped design all of the craft, the space station, lunar base and space suits, using designs already under discussion. Every bit was built with the idea that form follows function, for example, Discovery's hexagonal engines and spine were lifted from Lockheed and NASA nuclear plasma drive drawings. There are no silly ship designs like those created today. Are you listening, Michael Bay and and James Gunn? If you look, every shot of a ship's exterior or space dock has people moving behind the windows, something my son-in-law Erik observed that George Lucas couldn't do 10 years later. Every instrument was designed by a flight engineer. 2001's original budget was $6. 5 million, which ballooned to about 10. 5 million. The original budget ended up being the cost of special effects alone. The vertical centrifuge used for the rotating part of Discovery, with its complex camera placements, camera controls and rigging for the cast, cost over $1,000,000 by itself. 2001 wrapped filming well before the Apollo 8 mission became our first close look at the moon and at how the Earth looked from the moon and before Apollo 11 showed us what the moon's surface looked like, yet Kubrick nailed all of these shots. So well so that the moon walk denier conspiracy theorists claim all that NASA space footage was done by Kubrick for the government. How else could he have gotten all that money for special effects? Hint: product placement.
There are several instances in the film where we see a combination of the sun moon, earth and monolith in vertical alignment. Some of these are cosmological impossibilities so we must assume that Stanley wasn't trying to imply a time of day, a moment on a calendar or some astrological meaning. If, however, we consider that in every scene containing anything man-made there is no alignment, it is safe to conclude that Kubrick intends that the universe and the race represented by the monolith are a perfection that our human state cannot achieve.
Some people attribute meanings to the use of either circles (or spheres) to rectangles. Most of these people ascribe humans as inhabiting the circles representing eggs and uebermenschen and technology inhabiting the rectangles representing sperm. The human / technology offspring - HAL - is an evolutionary dead-end while the human / uebermensch offspring is the Star-Child.
Beyond the Surface:
Stanley Kubrick called 2001: A Space Odyssey an exploration of inner and outer space. The outer space bit is clear, but what of inner space? Interpretations and analyses of the film, at least the sane ones, range from a retelling of Homer's Odyssey (an argument I find to be contrived and weak) to a metaphor for puberty. As I mentioned before, the following analysis seems right for me. It is not the right answer, it just works for me. I think Stanley would be upset if a consensus grew around one narrative that didn't allow others to be heard. Feel free to disagree and build your own interpretation.
My belief around the film's underlying meaning is centered around its most enigmatic symbol, the monolith. I am not alone in this interpretation, it being also put forward by internet film critic Rob Ager, although some of my reasonings for this interpretations differ from Ager. Clarke's short story, The Sentinel, portrays this object as a pyramid. Kubrick couldn't get that shape to film well, but he didn't try very hard, either. I believe he had something else in mind all along, the iconic black rectangular prism. Clarke had to backpedal on his writing of the novelization of the movie to account for the new shape, and Kubrick suggested a great rationale for it: the monolith was a perfect mathematical shape; the ratio of its sides (Depth by width by height) are 1x4x9, the squares of the first three integers. So what does this have to do with any possible deeper meaning within the film? Remember, the film was shot in 70mm Cinemascope, resulting in an image aspect ratio of 2.23:1. The ratio between the monolith's height and width is 2.25:1. That's awfully close, and I don't think it's a coincidence. Very little of Kubrick's work is coincidence. So, for me, the monolith is a representation of the cinema screen itself. Yes, I know the screen is wider than it is tall and we think of the monolith as standing upright. But it is not always so; it is lying sideways at some critical points. But why would Kubrick create a metaphor for the movie screen? I think he is inviting us into his mind, asking us to join with him on this exploration of who we are and, more importantly, who we are to become. The monolith is an agent of change, and Kubrick hoped this film would change our perception of our future and change our perception of what cinema could be. Cinema is afte all a visual medium. Why do we need so much oral exposition and dialog during a visual experience?
The similarity of proportion between the monolith and the cinema screen is not my only reason for choosing this particular interpretation. The main reason for me is, of course, found in the music. The film opens with a blank, black screen (the monolith) as we hear Ligeti's Atmospheres. From the text above, remember that Atmospheres plays when the monolith is changing, or challenging, those in its presence. That Kubrick is challenging our notions of what cinema can be, focusing on images to elicit emotional reactions at a different level than narrative, can hardly be doubted. There is also the possibility that he is challenging our notions regarding technology, to step back and look critically at using technology that advances our lives without it threatening us or making us subservient to it. At the same time, he points us in a direction of moving beyond our limits as humans, toward a transhuman or uebermensch future. After the introductory blank screen and Ligeti we get the combination of seeing an alignment of the moon, earth and sun and hearing Also Sprach Zarathustra. This cements the interpretation that Kubrick points us toward an ideal of evolving beyond our humanness.
So, there's a brief introduction to a film that received mixed reviews upon its release. Many critics commented that Kubrick's directorial skills were not good because he couldn't elicit any emotion from his actors. They didn't get it. Actually, when you watch the man-ape first grasping a bone and nonchalantly letting it fall, you can see the moment he "gets it". It's a fine bit of acting. And David Bowman, played by Kier Dullea, also puts in a good performance. He is an automaton until he is forced out of his daze by Hal's treachery. Then we see purpose, determination, fear and utter disbelief. My opinion is that it takes a great director to get actors to show that much restraint. Anyway, in spite of the bad reviews and people walking out of the premiere,
2001: A Space Odyssey is now regarded as one of the top 5 films ever. If you don't own the Blu-Ray, you should.
Photo used under Creative Commons from abelmon007

redpajama_set_name: RedPajamaCommonCrawl


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Lesbians, Bisexual Women Highlight Grammy Nominations
Out lesbian singer and guitarist Brittany Howard is up for six Grammy nominations.
Reuters/ Aaron Josefczyk
For yet another year, a slate of LGBTQ individuals — mostly women — are up for Grammy nominations ahead of the January 31 awards ceremony recognizing top stars in the music industry.
The nominations include some well-established out LGBTQ figures, such as Kaytranada, who is under consideration for Best Pop Duo/ Group Performance and Best Pop Vocal Album. But there are also LGBTQ stars getting nods for the first time, including out bisexual rapper Chika, out gay DJ and record producer Kaytranada, and out bisexual indie star Phoebe Bridgers, who all received nominations for Best New Artist.
Brittany Howard leads the way among LGBTQ stars with a half-dozen nominations
Bridgers received two additional Grammy nominations for her song "Kyoto," which yielded a nod for Best Rock Song and Best Rock Performance, and she is also under consideration for Best Alternative Music Album for her song "Punisher."
Kaytranada also got nominated for Best Dance/ Electronic Album — as did Arca, an out trans woman —and for Best Dance Recording
Out lesbian Brittany Howard, who already had more than a half-dozen Grammy nominations under her belt, is in the best position yet to grab her first Grammy. She is being considered for a whopping six Grammy awards: Best Engineered Album, Non-Classical, Best American Roots Performance, Best R&B Performance, Best Alternative Music Album, Best Rock Song, and Best Rock Performance.
Howard made waves last year when she rolled out her solo album "Jaime," as well as her single "Stay High."
Meanwhile, Gaga, who has collected nearly a dozen Grammy Awards, is competing for Best Pop Duo/ Group Performance and Best Pop Vocal Album following the release of her new album, "Chromatica," earlier this year.
Out lesbian country star Brandy Clark, who won a Song of the Year Grammy in 2014 for her song "Follow Your Arrow," is among those being considered for Best Country Album and Best Country Solo Performance as she continues to ride the success of the album she released this year entitled "Your Life Is a Record."
Out lesbian singer and songwriter Brandi Carlile received a Best Song Written for Visual Media nomination for her song "Carried Me With You." Carlile snagged six Grammy nominations ahead of the 61st Grammy Awards in 2019.
Out gay DJ Kaytranada was nominated for multiple Grammys, including Best New Artist.Reuters/ Chris Wattie
Big Thief, whose singer, songwriter, and guitarist recently told The New Yorker that she's attracted to both men and women, dislikes labels, but is okay with being called queer, got a nod for Best Rock Song and Best Rock Performance for "Not."
LGBTQ celebrities who are far removed from the music world also grabbed nominations. Journalist Ronan Farrow was nominated for Best Spoken Word Album for the audiobook version of his book "Catch and Kill," while MSNBC host Rachel Maddow also landed a nod in that same category for her audiobook, "Blowout: Corrupted Democracy, Rogue State Russia, and the Richest, Most Destructive Industry on Earth."
Some LGBTQ artists, however, missed out on Grammy nods this year. Out bisexual singer Halsey drew significant buzz with her album "Manic," but that did not translate into recognition from the Recording Academy, and out singer Rina Sawayama was snubbed despite her successful debut studio album, "Sawayama."
Last year out gay rapper Lil Nas X stole the show alongside Billy Ray Cyrus, grabbing multiple Grammy awards for the hit song "Old Town Road," while out lesbian DJ Tracy Young and Tyler the Creator also came away with some gold hardware.
The Grammy Awards will air on January 31 on CBS.
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Hillary's Revisionism Does Nobody Any Good


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Home » Labour unveils foreign policy pledge to fix Britain's 'tarnished' international reputation
Labour unveils foreign policy pledge to fix Britain's 'tarnished' international reputation
January 23, 2023 4 Mins Read United Kingdom
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Labour would seek a new security pact with the EU if elected and establish a "threats cell" to tackle interference from powers such as Russia and China, David Lammy will say on Tuesday.
The shadow foreign secretary will pledge a "reset" of relations with Brussels by boosting trade, repairing science and research ties and fixing the Northern Ireland protocol.
A Labour government would also push for climate action to become another pillar of the United Nations alongside peace and security, human rights, rule of law, and development.
Labour is currently polling about 20 points ahead of Rishi Sunak's Conservatives, making the party the favourite to win the next general election which must take place by January 2025.
Mr Lammy is due to present the party's foreign policy, Britain Reconnected, for Security and Prosperity at Home, in a major speech today at Chatham House in London.
He will argue that dogmatic and reckless international relations under the Tories have left Britain in an economic crisis, estranged from its allies, and with a "tarnished" reputation.
"Poor leadership, bad choices and institutional dysfunction and a failure to clearly define the goals of the Foreign, Commonwealth and Development Office (FCDO) around modern challenges leave the UK ill-equipped to face the future," he will say.
It comes as the "blurring of the distinction between foreign and domestic challenges means that foreign policy has never been more important for working people's lives".
Mr Lammy will repeat Sir Keir Starmer's mantra that Britain must stay outside the EU single market and customs union, but promises a "reset" based on repairing relations, reaching a new security agreement and extending trade and cultural links with the EU.
"This will be achieved by fixing the Northern Ireland protocol, reducing friction on food, agricultural, medical and veterinary goods, strengthening recognition of professional standards and qualifications, unblocking participation in the Horizon scheme and improving links between our students and universities."
A Labour government will "seek a new UK-EU security pact, to complement Labour's unshakeable commitment to Nato and seek new cooperation across foreign policy through regular EU-UK summits and structured dialogue to tackle Europe's shared threats in areas such as cyber, energy security and organised crime," Mr Lammy will say.
He will also promise a new "mission statement" for the FCDO, encompassing "future challenges, from space and cyber-governance to artificial intelligence, automation and biotech."
The merger of the Foreign and Commonwealth Office and Department for International Development will be reviewed, with international development based on partnership with other countries, not just aid. Agencies of "soft power" such as the BBC World Service and British Council, deemed to be under threat for budgetary reasons, will be ring-fenced.
A joint FCDO and Home Office "threats cell" will also be set up to investigate activities of powers like Russia and China and combat attempts to infiltrate government institutions and private industry, Mr Lammy will say.
Britain should also push for an "open-ended campaign to reform the UN Security Council in the wake of Russia's invasion of Ukraine", and an end to the current system in which Russia and China can veto efforts to investigate human rights abuses such as the suppression of Uyghurs in Xinjiang.
A Labour government will also work with allies to "create a new international law of ecocide to criminalise the wanton and widespread destruction of the environment" and create a Clean Power Alliance – an "inverse Opec" of developed and developing nations committed to 100 per cent clean power by 2030.
January 28, 2023 United Kingdom
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Andrew Bridgen: I won't sue Matt Hancock if he says sorry
Clare Drakeford, wife of Wales's First Minister, dies suddenly
Italy's premier visits Libya for talks on energy, migration


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package io.rsocket;

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redpajama_set_name: RedPajamaGithub


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