This Packard Twelve is One of Two that Remain in the World
Only five 1933 Packard Twelve Coupes were manufactured. Two remain in the world. This is a priceless car. This Packard has won three awards since 2014, including Pebble Beach Concours d’Elegance in 2014 and 1st place at Amelia Island Concours d’Elegance and Concours d’Elegance of America at St. John’s in 2015. It also appeared in 2018 at the inaugural Concours d’Elegance at Copshaholm.

This model and year was the first run of Packard’s famed Twelve, which succeeded the Twin Six, and was the only year with the fold-out window design

For 1933 Packard reintroduced a twelve-cylinder engine, initially called the "Twin Six", then changing the name to "Packard Twelve," to align it with the rest of the Packard lineup.This was the 10th Series and two models were on offer: the 1005 and the 1006 had wheelbases of 142 in (3,606.80 mm) and 147 in (3,733.80 mm). The Twin Six' double drop frame was replaced by a tapered design. Convertibles and roadsters used leftover ninth series bodies with a smaller radiator than the all-new tenth series models.

The Twin Six' V12-engine was retained without major change. The cylinder blocks are at a 67 degree angle, bore and stroke 3+7⁄16 and 4 in (87.3 and 101.6 mm) respectively. A 445.5 cu in (7,300 cc) displacement was the result and maximum power is 160 hp (119 kW) at 3200 rpm. The cooling system was improved and a new Bendix-Stromberg EE-3 carburetor with an automatic choke was introduced, increasing power somewhat. A single dry-plate clutch replaced the earlier twin-plate model, matched to a floor-shifted three-speed manual transmission and a new one-piece driveshaft. The existing mechanical brakes were also adopted for the Twelve.

The shorter wheelbase (Model 1005) was available with at least ten different styles of bodywork, ranging from the two-seat Coupe Roadster to the five-seat Formal Sedan. Standard bodyworks for the long wheelbase Model 1006 were Sedan and Sedan Limousine (both either five- or seven-seaters), with a host of custom bodyworks also on offer. These were mainly by Dietrich and LeBaron. The Super Eight long wheelbase chassis was no longer available, restricting custom bodyworks to the new Twelve.

1933 Packard Twelve Coupe Specs:
445.5 cubic inch, V12 engine
160 hp
Three-speed Synchromesh manual transmission
Single Stromberg EE-3 downdraft carburetor
142 inch-wheelbase
Rare and highly sought-after Tenth Series Packard
Life-long West Coast car sold new in Los Angeles
CCCA Primary and Senior Award Winner

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The Mercedes-Benz 300 SL is a two-seat sports car that was produced by Mercedes-Benz from 1954 to 1957 as a gullwinged coupé and from 1957 to 1963 as a roadster. The 300 SL traces its origins to the company's 1952 racing car, the W194, and was equipped with a mechanical direct fuel injection system that significantly increased the power output of its three-liter overhead camshaft straight-six engine.

The 300 SL was capable of reaching speeds of up to 263 km/h (163 mph, not too shabby!), earning it a reputation as a sports car racing champion and making it the fastest production car of its time. The car's iconic gullwing doors and innovative lightweight tubular-frame construction contributed to its status as a groundbreaking and highly influential automobile.

The designation "SL" is an abbreviation of the German term "super-leicht," meaning "super-light," a reference to the car's racing-bred lightweight construction. The 300 SL was introduced to the American market at the suggestion of Max Hoffman, Mercedes-Benz's United States importer at the time, who recognized the potential demand for a high-performance sports car among American buyers. The Mercedes-Benz 300 SL remains a highly sought-after classic car and is celebrated for its performance, design, and technological advancements.
Between 1954 - 1957 1400 coupes were produced.

Wiki

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Notice their signature "D" on top of the chrome taillight bezel. (you will have to zoom to see it)

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In 1953, the Jaguar C-Type cemented its place in motorsport history by dominating the 24 Hours of Le Mans. The car that introduced disc brakes to the world, finished 1st, 2nd, 4th and 9th and set a new average speed record of 105.84mph, the first time a 100mph average had ever been broken, thanks to its 220bhp engine with triple Weber carburetors and aerodynamic lightweight body.
The first three cars produced in 1951 were almost immediately sent to the 24 Hours of Le Mans to be tested against the competition. Two of the C-Types failed to finish, but the third car driven by Peter Walker and Peter Whitehead won the endurance race outright, making the C-Type the first British car to win the event in some two decades, setting several speed and distance records in the process. In 1952, C-Type customer car deliveries began, and the twin SU carburetors were upsized slightly, while the car's bodywork and cooling system were also revised. Jaguar's factory motorsports team again ran three cars at the 1952 Le Mans, but all retired with mechanical issues.
In 1953, Jaguar again built three new factory racers with further weight reduction thanks to thinner aluminum bodywork, lending them an unofficial "lightweight" designation. Triple Weber carburetors and higher-lift cams helped bump power to 220 hp, while the rear suspension was slightly revised and Dunlop disc brakes (a rarity in '53) replaced the previous drum units. The factory "lightweight" C-Types finished first, second, and fourth at the 1953 24 Hours of Le Mans. In the end, some 53 C-Types were built before the model was replaced by the even more specialized Jaguar D-Type for the 1954 racing season. Despite the arrival of the D-Type, a C-Type fielded by privateer team Ecurie Francorchamps finished fourth overall in the 1954 24 Hours of Le Mans.
The Jaguar C-Type was really the brand's first all-new postwar race car and as such, it was driven by many of the luminaries of the period including the late Sir Stirling Moss and American Formula 1 champion Phil Hill. Hill said of the C-Type, "I was just in awe of the C-Type when I first stepped into it. When I look back on it now, it makes me smile. The steering was light-almost scary light. It was the first car I ever drove that had a really precise feel about it-it really felt like a racing car." Just three of the special 1953 "lightweight" cars were ever built, though some cars were later modified to lightweight specification.

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Matted and framed, and only minor adjustments to the original image made by yours truly.

Pictorialism - is an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of creating an image rather than simply recording it. Typically, a pictorial photograph appears to lack a sharp focus (some more so than others), is printed in one or more colors other than black-and-white (ranging from warm brown to deep blue) and may have visible brush strokes or other manipulation of the surface. For the pictorialist, a photograph, like a painting, drawing or engraving, was a way of projecting an emotional intent into the viewer's realm of imagination.
Pictorialism as a movement thrived from about 1885 to 1915, although it was still being promoted by some as late as the 1940s. It began in response to claims that a photograph was nothing more than a simple record of reality, and transformed into a movement to advance the status of all photography as a true art form. For more than three decades painters, photographers and art critics debated opposing artistic philosophies, ultimately culminating in the acquisition of photographs by several major art museums.
Pictorialism gradually declined in popularity after 1920, although it did not fade out of popularity until the end of World War II. During this period the new style of photographic Modernism came into vogue, and the public's interest shifted to more sharply focused images such as seen in the work of Ansel Adams. Several important 20th-century photographers began their careers in a pictorialist style but transitioned into sharply focused photography by the 1930s.

The photographer/artist HENRY B. GOODWIN (1878–1931)
Henry B. Goodwin, born in Munich as Henry Buergel, was the most successful representative of pictorialism. He arrived in Sweden in 1905 in order to teach German at Uppsala University. Some ten years later, in 1914, he moved to Stockholm where he opened a studio, Kamerabilder, which was popular with painters and artists.
His many superb portraits were achieved with small means: the subject is captured against a dark, neutral backdrop. Goodwin enjoyed a large, international network and launched the term bildmässig (pictorial) photography as an alternative to artistic photography. It was a term that came to be used frequently in the photographic debate.

As far as the subject, Lady Barclay, I was not able to find much about her and her history. However, suffice it to say, she was a woman of means at the time.

Roy Corley was kind enough to do some research on Lady Barclay and he found the following, thanks Roy:
Sarita Barclay moved to Stockholm just after the end of the First World War with her husband, Sir Colville Barclay, and their three children. Her husband was Minister to Sweden, a high-ranking British diplomat.

During the five years that Lady Barclay lived in Stockholm she hosted various events, including a dinner in conjunction with an exhibition of French art at the Liljevalchs art gallery at the initiative of Prince Eugen in 1923. Sarita was the daughter of the British sculptor Herbert Ward.

After the death of her first husband, she married Robert Vansittart, a diplomat who spoke out against Nazism before and during the Second World War.

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