A very nice collection of Lago-Talbot you have. I desperately wanted MA's Saoutchik 1948 Paris Salon Lago-Talbot, but was too late. MA in Switzerland did some lovely models, produced by Brianza. I have their Figoni et Falaschi 1937 Paris Salon Delahaye 135 convertible / 1945(?) Franay Delahaye 135 / 1939 Lago-Talbot / 1946 Figoni et Falaschi Delahaye 135 Narval / and 1948 Ghia Delahaye 135. Here is the Ilario Saoutchik Lago Talbot in lieu of your MA version:
Ilario has impeccable quality and their rendering is great. By the time I checked Ilario for first time the green 1/43 version was gone and I have not seen one for sale. Since I collect all scales, I would buy the 1/18 model that is still available ... however when I pay top dollars I want top quality. For me Ilario has one flaw, when looked from the top the front of the model is too wide, wider then the rear fenders. I understand, I am looking at the 1/43 and extrapolating for 1/18 assuming Ilario used the same 3D rendering to create both models. While I may be incorrect, the risk buying the 1/18 version is too high; hence finding the MA green 1/43 version is a decent solution for the time being.
I also wonder if the Paris show pictures were shot in color or they were colorized...
@chav These are original Time Magazine colour photographs - there are a whole bunch of them. I have a fair knowledge of photographic history an I have no reason to think otherwise: they look pretty typical for the period. Of course German colour technology was far more advanced, if we see the work Hugo Jager or Andre Zucca, (though Zucca was French). Also, the colour work of Gisele Freunde bears comparison to these Time Magazine shots.
I think your well-off sticking to the MA collection Talbot as it is a lovely model. If I find time - and hoping you don't think I'll spoil your Saoutchik thread - I'll try to add a 1948 Figoni Et Falaschi Lago Talbot later.
@charles-rockett Nice to know these are real color photos, that means that brown second color of the Ilario model is more accurate then the darker green on the MA model. 1948 Figoni Et Falaschi Lago Talbot is a lovely car, watched a video about it last night.
PS: Ilario is more accurate adding the trim above the headlights
Regarding the roadster, I seem to remember there is something not 'right' about it. The old Mafma site which had separate sections for all the modellers, used to give very good histories of each vehicle. Generally they did 'original' and 'current' cars. I was about to buy the roadster and read the history, finding it was quite different to the original. But I don't remember what was wrong. I've been to the Ilario site now, and see that they were offering original and current car - but I don't remember what the original was like - or indeed, if they ever made it. I believe these are getting towards the end of Chromes marque.
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CHRO56 TALBOT-LAGO T150 ROADSTER SAOUTCHIK 1939
Roadster created on a single chassis of 1939 Talbot-Lago T150 with an unknow serial number.
This design in the style of Saoutchik is inspired by the Coupé Fastback T26 Grand Sport 1948, was made in the 1950s in the south of France.
The author of this car is unknown.
The rear and the windscreen of the car were reworked some years later to approach the style of the 110101 or 110156 Coupé which it is inspired.
The result is a real success, a convertible with perfect proportions, an original pastel blue color.
The whitewall tires enhance the wheels painted in red coordinated with the inside.
As chro55, the front grille of this miniature was cast with openwork bars, a true technical feat to reach that level of finesse.
Regarding Time. You're right of course: the two amalgamated to become Time-Life and I still get them confused even though these changes occurred long before I was around.
@chav The pastel mint and bitter chocolate combo' (often seen with aqua) is very French and may be seen in all kinds of settings going back at least to Art Nouveau. They have set, unusual combinations: pale pink & biscuit ; petrol blue and biscuit. And I suspect this striking combination was to speak to such tradition whilst also catching public attention. At the same time, it is reasonable to assume that the first buyer may change the colour to something less eye-catching. And given Michel Sordet of MA was scrupulous in his detail - and very good on colour - it is very possible that the first buyer of this car simply changed the bitter chocolate accents to a more complementary green. The Aga Khan, who bought the tea-pink and buttermilk 1936 Paris salon Figoni Et Falaschi Delahaye 135, straight off the stand, immediately had it repainted black, with orange coachlining!
@chav The pastel mint and bitter chocolate combo' (often seen with aqua) is very French and may be seen in all kinds of settings going back at least to Art Nouveau. They have set, unusual combinations: pale pink & biscuit ; petrol blue and biscuit. And I suspect this striking combination was to speak to such tradition whilst also catching public attention. At the same time, it is reasonable to assume that the first buyer may change the colour to something less eye-catching. And given Michel Sordet of MA was scrupulous in his detail - and very good on colour - it is very possible that the first buyer of this car simply changed the bitter chocolate accents to a more complementary green. The Aga Khan, who bought the tea-pink and buttermilk 1936 Paris salon Figoni Et Falaschi Delahaye 135, straight off the stand, immediately had it repainted black, with orange coachlining!
