talbots careers Life of
Talbot-Lago Monoplace Decalee 1939
For reasons of financial and organizational problems, it was not until the 1939 Grand Prix of Pau that Talbot Lago first participated in the 1939 season. 90130 driven by Rene Carriere had a DNF, but its sister 90131 secured a remarkable 3rd place behind two Mercedes-Benz Grand Prix cars. This was to be the only satisfactory result for several Grand Prix. However, the seating position, which was offset to the right beside the gearbox in order to ascertain a low seating position and therefore a low centre of gravity, suddenly offered an opportunity to enter the car in the international category for sports cars, converting the car to a biplace sport (two seats sports) adding doors, headlamps and cycle wings. In this form 90130 beats the Bugatti Type 57 G Tank with Wimille and brings home victory in its very first attempt during the Grand Prix of Comminges. 90130 did not qualify for the 500 miles of Indianapolis, but achieved a remarkable 4th in the famous American Pikes Peak Hillclimb.
Zora Arkus Duntov participated at Indianapolis in 1946 and 1947 before asking Luigi Chinetti to sell the car for him. A short moment with a Brazilian owner and then Taso Mathieson, the car was then purchased by the young Harry Schell. He was the son of Lucy and Laury Schell (Ecurie Bleue, Delahaye). Being at the very beginning of a long racing career, Harry Schell raced 90130 mainly in Grand Prix during the 1949 season. 90131 (the Other Monoplace Decalee) participated in the first postwar Le Mans 24 Hours with a DNF but placed an excellent 2nd during the 1950 Le Mans 24 Hours. This significant result reassured Harry Schell that his car 90130 was a competitive contender in the current international sportcar category. As a result he teamed up with Raymond Sommer for the Grand Prix de l Automobile Club de France (ACF) to test the potential of his car. Unfortunately, Sommer convinced him fitting the race engine of his T26C 110009 would increase their chances, a fatal move since this caused Schell and Sommer to loose a certain victory in that race.
At the end of 1950, Schell sold the car to well-known racing driver Raph. Raph had been recovering from a bad accident in 1948 and decided to re-launch his career after a long period of convalescence. His plan was to race 90130 in some races in South America, place well hence increasing the value of the car, and ultimately to sell the car to finance his Ferrari single seater project. However, incurable gearbox problems never led to success, and the car was left in South America until 1984 when Colin Crabbe saved the car and brought it back to Europe. It was in 1987 that 90130 graced the Talbot Lago stand at Retromobile, after a long absence from Europe. Between 2007 and 2010, extensive work by the leading specialists was carried out to prepare 90130 for a future Le Mans Classic event. 90130 is one of the two most important Talbot-Lago sports/race cars, and it is highly competitive for historic racing.
The further details of the car are as follows :
Race specification : Grand Prix and Sports Car versions alternatively
Engine specification : 4482 cc 6-cylinder engine with 240 HP
Gearbox : Wilson Preselector racing gearbox
Documents : EEC Papers, FIA Papers
Talbot-Lago T150 C 1936
The race list of Talbot-Lago T150 C number 82930 is a comprehensive list of racing. Evocative names, famous circuits and colorful owners make up ist thoroughbred history. This car participated in 28 Grand Prix and it competed at Le Mans no fewer than four times. It has covered the dangerous, gruelling yet scenic 1,000 mile journey of the Mille Miglia on five separately occasions. It has been driven by some of the greatest drivers the sport has produced : Cadot, Chiron, Chinetti, Bradley, Levegh. It has fought for victory on the world s most famous circuits. Names that are as famous now as they were 50 years ago. Names such as the Nurburgring, Silverstone, Donington and Le Mans.
Chassis number 82930 was built to be driven by works driver Jimmy Bradley, the son of the respected Autocar journalist William Bradley. In the event the factory were persuaded to sell the car to the wealthy financier Francisque Cadot. The car was delivered in time for him to campain it in the AFC Grand Prix. The factory later decided to take the car back and display it on the Labot-Lago stand at the Salon de l Auto in October 1936. After the show the car regained its liberty. Chinetti, the crew chief of Francisque Cadot, set up a racing team. He later went on to become the first official Ferrari importer into the United States. While still independent, Chinetti s team retained strong links with the factory s works team. This Team B raced both 82930 and its sister car 82932. The factory asked Chinetti to represent him at the 1937 Mille Miglia. At this time the car had the chassis number 82933. Customs paperwork was required for the race, and 82933 was not an official works car. The factory therefore, renumbered 82933 as 82930 the chassis number the car still wears today.
The car was campained superbly until the breakout of war, taking part at Le Mans in 1937. It was driven by the great French driver Chiron, a man who s stature is unparalleled in Grand Prix racing and is highly regarded even today. Not content with racing just once at Le Mans, the car went on to compete again in 1938 and in 1939. It was raced at the Spa 24 Hours, and participated in the gruelling Liege-Rome-Liege rally in 1938.
From the end of 1938 though the end of the 1946 season, the car was raced almost exclusively by Levegh. The real name of this extraordinary driver was Pierre Bouillon.
International racing was stopped during the war. In 1945, 82930 s second and equally illustrious career began. With its modified body, factory allocated chassis number and brilliant drivers. 82930 helped disquise the harsh reality, and demonstrated the promise of a strong future.
In 1949 the car participated in the first Le Mans 24 Hours since the end of the war and campained successfully in a series of French Grand Prix. By 1950, 82930 was allowed to recuperate. During this time the car wen through the hands of a few French owners. Among them was the colourful Raymond Reynier. He was given the ironically nickname Picasso. It was stemmed from the dedication and respect with which he personally applied the racing numbers to 82930.
In 1983 the car was sold to its first English owner Charles Howard who later sold the car on to Dan Margulies. These enthusiastic owners brought the car back to racing all over Europe.
The car now is in a ready to race condition and has a lovely patina from an older restoration but was always maintained carefully.
A gentleman and an intellectual, Talbot was a great student of the Arts and Sciences and kept detailed notes of his activities and experiments. He discovered the negative/positive paper process which made multiple reproductions of a single image possible, and which distinguished it from its contemporary, the one-of-a-kind daguerreotype. Talbot first announced his invention to the public in 1839 in his paper, “An Account Of The Art of Photogenic Drawing Or The Process By Which Natural Objects May Be Made To Delineate Themselves Without The Aid Of The Artist’s Pencil.” The work he did during this time established, in principle and in practice, the foundation of modern photography—the basis of the process that is still used today.
In addition to Talbot’s technological contributions, his photographs represent exceptional artistic achievement. First Photographs includes a significant text by the preeminent Talbot scholar today, Michael Gray, who provides a comprehensive essay, biography, and timeline of Talbot’s eventful life and revolutionary work. Arthur Ollman, director of the Museum of Photographic Arts, San Diego, gives an in-depth analysis of the aesthetic and social significance of Talbot’s first image, “Oriel Window.” Curator Carol McCusker considers how the Romantic Movement and the women of the Lacock household influenced Talbot’s aesthetic choices. First Photographs and the accompanying exhibition provide a rare opportunity for contemporary audiences to experience these uncommon images and the personal, cultural, and scientific contexts in which they were made.