Saturday, August 29, 2009


Thomas Cole, American painter, 1845
Source or
Author Unidentified photographer
From Wikipedia, the free encyclopedia

Thomas Cole
Born: 1-Feb-1801
Birthplace: Bolton-le-Moors, Lancashire, England
Died: 11-Feb-1848
Location of death: Catskill, NY
Cause of death: unspecified
Gender: Male
Race or Ethnicity: White
Occupation: Painter
Nationality: United States
Executive summary: American landscape painter
(Copyright ©2009 Soylent Communications)

Thomas Cole has long been known as the founder of the Hudson River School. He has also come to be recognized as a romantic landscape painter of comparable importance to American culture as John Constable is to England's or Caspar David Friedrich to Germany's. Born in England in 1801, Cole emigrated with his parents to Pennsylvania in 1818. Already trained as an engraver, the aspiring painter set out to capture the still largely unexplored American wilderness. In a now familiar story, when Cole first exhibited his landscapes in New York City in 1825, they enthralled two of America's most prominent artists, John Trumbull and William Dunlap, both of whom immediately recognized the freshness and vitality of the young artist's vision.
Such landscapes have several purposes in Cole's large view of history. In them we are reminded of the transience of human endeavor, which is deliberately contrasted to the permanence of God's creation in the rocks and mountains that enclose the scene. They also serve as statements of what makes a culture livable, which for the artist was not the bustle of industrialism and commerce, but rather a peaceable coexistence with nature, enlivened by the arts.
In late September and early October of 1825 a young artist named Thomas Cole caught a steamboat ride and took a trip up the Hudson River stopping to get off at West Point to see Fort Putnam and again at Catskill, New York, where he got off again, and went off on a sketching trip high up in the Catskill Mountains. On site he did pencil sketches, but when he got back to his father's apartment on Greenwich Street in New York City, he produced three large oil paintings that almost immediately were put on display in a picture shop window where they were snapped up by leading patrons of the day and in the process, changed American art forever.

Lake with Dead Trees, 1825

A View of Fort Putnam, 1825

Falls of Kaaterskill
Oil on canvas, 1826
42 7/8 x 35 7/8 inches (109.2 x 91.4 cm)
Warner Collection
Gulf States Paper Corporation, Tuscaloosa
This image is courtesy of the Art Renewal Center

and compare....

Kaaterskill Falls
Eastern Catskill Mountains of New York
From Blackbird Archive

Kaaterskill Falls, 1826

Those first three paintings by Cole purchased by John Trumbull, Asher B. Durand and William Dunlap, were “Lake with Dead Trees,” “A View of Fort Putnam” and “The Falls of the Kaaterskill.” In all likelihood the three have never been seen together since those early days as first “The Falls of the Kaaterskill” disappeared and then so to did “A View of Fort Putnam.” The version we know today as “The Falls of the Kaaterskill” was a copy done for Daniel Wadsworth in 1826. Trumbull was the uncle of Wadsworth by marriage, and Wadsworth would go on to become the greatest patron of Cole. “A View of Fort Putnam,” was considered to be lost until being recently rediscovered at the Pennsylvania Academy of the Fine Art in Philadelphia, where it has been properly restored to its current state, a most suitable location as it was at the P.A.F.A. in late 1823 and early 1824 that Cole received his brief formal art training.
(Alexander Boyle at
Lake Winnepesaukee was painted just two to three years after Thomas Cole established himself as a leading American landscape artist. The painting illustrates Cole’s early desire to depict nature as wild and sublime. Cole composed this painting from a sketch he made on a trip through the White Mountains of New Hampshire in 1827. First exhibited at the American Academy of Fine Arts in 1828, it was purchased by Stephen Van Rensselaer III (1764-1839), the aristocratic landowner who was one of Albany’s most famous citizens. In July 1828, Van Rensselaer asked Cole to provide the companion picture, View near Catskill (Private Collection) which was exhibited at the National Academy of Design in 1829. Cole’s protégé, Asher B. Durand, engraved an image after the painting in 1830 and the print entitled Winnipiseogee Lake was published in The American Landscape that same year.
Cole wrote of Lake Winnepesaukee:
Its mountains do not stoop to the water’s edge, but through varied screens of forest may be seen ascending the sky softened by the blue haze of distance . . .
(Albany Institute of History & Art, Gift of Mrs. Ledyard Cogswell, Jr. at

Lake Winnepesaukee
Oil on canvas, 1827 or 1828

The most startling quality of The Subsiding of the Waters of the Deluge, below, is the clarity of light . It is as if the whole world has been washed clean of every tarnish, and now lies ready for a new dawn. Certainly wreckage is strewn in the forefront of the painting, and the ground is still awash with the receding floodwater, but light coming from some point at the right of the picture seems to announce the new world that God is offering Noah. Cole seems to suggest that this is the scene that greeted Noah when he removed the covering from the door of the ark.

The Subsiding of the Waters of the Deluge
Oil on canvas, 1829
35 5/8 x 47 3/4 inches (90.8 x 121.4 cm)
National Museum of American Art
Smithsonian Institution, Washington DC
This image is courtesy of the Art Renewal Center

By 1829, when he decided to go to Europe to study firsthand the great works of the past, he had become one of the founding members of the National Academy of Design and was generally recognized as America's leading landscape painter. In Europe, Cole's visits to the great galleries of London and Paris and, more important, his stay in Italy from 1831 to 1832, filled his imagination with high-minded themes and ideas. A true Romantic spirit, he sought to express in his painting the elevated moral tone and concern with lofty themes previously the province of history painting.
(From "American Paradise: The World of the Hudson River School" at The Artchive)

Interior of the Colosseum, Rome
Oil on canvas, 1832
Albany Institute of History and Art, New York City
This image is courtesy of the Art Renewal Center

The Titan's Goblet
Oil on canvas, 1832
Metropolitan Museum of Art, Manhattan, New York, USA
Gift of Samuel P. Avery Jr., 1904
This image is courtesy of the Art Renewal Center

Cole often painted fanciful landscapes, but this work may be his most enigmatic. Its main feature evolved from sketches the artist made in Italy in 1832 of fantastical fountains, bearded with foliage, which were evidently inspired by actual ones he saw at sites in Florence, Rome, and Tivoli, possibly informed further by the basinlike appearance of volcanic lakes near Rome such as Nemi and Albano. The artist himself inscribed the title on the back of the painting; thus, in including the sun behind the vastly amplified fountain, he may have been alluding to the mythological titan Helios, who rode a goblet through the nocturnal sky before mounting a chariot at dawn to illuminate the day.
(Copyright © 2000–2009 The Metropolitan Museum of Art)
When he returned to America, he found an enlightened patron in the New York merchant Luman Reed, who commissioned from him The Course of Empire (1836), a five-canvas extravaganza depicting the progress of a society from the savage state to an apogee of luxury and, finally, to dissolution and extinction. Most New York patrons, however, preferred recognizable American views, which Cole, his technique further improved by his European experience, was able to paint with increased authority. Although he frequently complained that he would prefer not to have to paint those so-called realistic views, Cole's best efforts in the landscape genre reveal the same high-principled, intellectual content that informs his religious and allegorical works.
(From "American Paradise: The World of the Hudson River School" at The Artchive)

The Course of the Empire (Oil, 1836)
Savage State
New York Historical Society
Gift of the New-York Gallery of Fine Arts, 1858
From Ron Watters Home Page

The Course of the Empire (Oil, 1836)
Pastoral State
New York Historical Society
Gift of the New-York Gallery of Fine Arts, 1858
From Ron Watters Home Page

The Course of the Empire (Oil, 1836)
Consummation of the Empire
New York Historical Society
Gift of the New-York Gallery of Fine Arts, 1858
From Ron Watters Home Page

The Course of the Empire (Oil, 1836)
New York Historical Society
Gift of the New-York Gallery of Fine Arts, 1858
From Ron Watters Home Page

The Course of the Empire (Oil, 1836)
New York Historical Society
Gift of the New-York Gallery of Fine Arts, 1858
From Ron Watters Home Page

In The Course of the Empire, above, one can see the mountain in the background remains throughout, but in the foreground, there are considerable changes.
A second trip to Europe, in 1841-42, resulted in even greater advances in the mastery of his art: his use of color showed greater virtuosity and his representation of atmosphere, especially the sky, became almost palpably luminous.
He consistently recorded his thoughts in a formidable body of writing: detailed journals, many poems, and an influential essay on American scenery. Further, he encouraged and fostered the careers of Asher B. Durand and Frederic E. Church, two artists who would most ably continue the painting tradition he had established. Though Cole's unexpected death after a short illness sent a shock through the New York art world, the many achievements that were his legacy provided a firm ground for the continued growth of the school of American landscape.
(From "American Paradise: The World of the Hudson River School" at The Artchive)
Thomas Cole prepared detailed explanatory texts for each painting in the four-part series, The Voyage of Life, below. The following are Cole's own words about these paintings:
"A stream is seen issuing from a deep cavern, in the side of a craggy and precipitous mountain, whose summit is hidden in clouds. From out the cave glides a Boat, whose golden prow and sides are sculptured into figures of the Hours: steered by an Angelic Form, and laden with buds and flowers, it bears a laughing Infant, the Voyager whose varied course the artist has attempted to delineate. On either hand the banks of the stream are clothed in luxuriant herbage and flowers. The rising sun bathes the mountains and the flowery banks in rosy light.
The dark cavern is emblematic of our earthly origin, and the mysterious Past. The Boat, composed of Figures of the Hours, images the thought, which we are borne o n the hours down the Stream of Life. The Boat identifies the subject in each picture. The rosy light of the morning, the luxuriant flowers and plants, are emblems of the joyousness of early life. The close banks, and the limited scope of the scene, indicate the narrow experience of Childhood, and the nature of its pleasures and desires. The Egyptian Lotus in the foreground of the picture is symbolical of Human Life. Joyousness and wonder are the characteristic emotions of childhood.
Cole's renowned four-part series traces the journey of an archetypal hero along the "River of Life." Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature's fury, evil demons, and self-doubt will threaten his very existence. Only pr ayer, Cole suggests, can save the voyager from a dark and tragic fate.
From the innocence of childhood, to the flush of youthful overconfidence, through the trials and tribulations of middle age, to the hero's triumphant salvation, The Voyage of Life seems intrinsically linked to life doctrine of death and resurrection.
Trouble is characteristic of the period of Manhood. In Childhood there is no cankering care; in Youth no despairing thought. It is only when experience has taught us the realities of the world, that we lift from our eyes the golden veil of early life; that we feel deep and abiding sorrow; and in the picture, the gloomy, eclipse-like tone, the conflicting elements, the trees riven by tempest, are the allegory; and the Ocean, dimly seen, figures the end of life, to which the voyager is now approaching. The demon forms are the temptations that beset men in their direst trouble. The upward and imploring look of the voyager, shows his dependence on God, and that faith saves him from the destruction that seems inevitable.

The Voyage of Life (1840)
The Voyage of Life: Childhood
Munson-Williams-Proctor Institute Museum of Art, Utica
This image is courtesy of the Art Renewal Center

The Voyage of Life (1840)
The Voyage of Life: Youth
Munson-Williams-Proctor Institute Museum of Art, Utica
This image is courtesy of the Art Renewal Center

The Voyage of Life (1840)
The Voyage of Life: Manhood
Munson-Williams-Proctor Institute Museum of Art, Utica
This image is courtesy of the Art Renewal Center

The Voyage of Life (1840)
The Voyage of Life: Old Age
Munson-Williams-Proctor Institute Museum of Art, Utica
This image is courtesy of the Art Renewal Center

While best known for his allegorical paintings such as the Course of Empire and the Voyage of Life series, he did many White Mountain paintings including Flume in the White Mountains; View of Mount Washington; Mount Chocorua; Notch of the White Mountains; View Near Conway; and Mount Washington from the Upper Saco Intervale.
(John J. Henderson at

Sunrise in the Catskill Mountains
Oil on canvas, 1826
National Gallery of Art, Washington
This image is courtesy of the Art Renewal Center

View in the White Mountains
Oil on canvas, c.1827
Fine Arts Museum of San Francisco, San Francisco
This image is courtesy of the Art Renewal Center

View in the White Mountains
Oil on canvas, 1827
Wadsworth Atheneum, Hartford
This image is courtesy of the Art Renewal Center

Mount Chocorua, New Hampshire
Oil on panel, 1827
23 x 32 1/2 inches (58.42 x 82.55 cm)
Private collection
This image is courtesy of the Art Renewal Center

Autumn Landscape (Mount Chocorua)
Oil on canvas, c.1827-1828
Private collection
This image is courtesy of the Art Renewal Center

The Oxbow, 1836
View from Mount Holyoke, Northampton, Massachusetts
after a Thunderstorm (Oil on canvas)
51 1/2 x 76 in (130.8 x 193 cm)
The Metropolitan Museum of Art, New York

Long known as The Oxbow, above, this work is a masterpiece of American landscape painting, laden with possible interpretations. In the midst of painting The Course of Empire, Cole mentioned, in a letter dated March 2, 1836, to his patron Luman Reed, that he was executing a large version of this subject expressly for exhibition and sale. The picture was shown at the National Academy of Design in 1836 as View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm. Cole's interest in the subject probably dates from his 1829 - 32 trip to Europe, during which he made an exact tracing of the view published in Basil Hall's Forty Etchings Made with the Camera Lucida in North America in 1827 and 1828. Hall criticized Americans' inattentiveness to their scenery, and Cole responded with a landscape that lauds the uniqueness of America by encompassing "a union of the picturesque, the sublime, and the magnificent." Although often ambivalent about the subjugation of the land, here the artist juxtaposes untamed wilderness and pastoral settlement to emphasize the possibilities of the national landscape, pointing to the future prospect of the American nation. Cole's unequivocal construction and composition of the scene, charged with moral significance, is reinforced by his depiction of himself in the middle distance, perched on a promontory painting the Oxbow. He is an American producing American art, in communion with American scenery. There are both sketchbook drawings with annotations and related oil sketches of this subject. Many other artists copied or imitated the painting.
(Copyright © 2000–2009 The Metropolitan Museum of Art)

View on the Catskill - Early Autumn
Oil on canvas, 1837
38 7/8 x 62 7/8 inches (99 x 160 cm)
Metropolitan Museum of Art, Manhattan
This image is courtesy of the Art Renewal Center

Schroon Mountain, Adirondacks
Oil on canvas, 1838
39 3/8 x 63 in (100 x 160 cm)
The Cleveland Museum of Art
Image from The Artchive

The Notch of the White Mountains (Crawford Notch)
Oil on canvas, 1839
National Gallery of Art, Washington
This image is courtesy of the Art Renewal Center

Catskill Mountain House: The Four Elements
Oil on canvas, 1843-1844
Private collection
This image is courtesy of the Art Renewal Center

Mount Aetna from Taormina
Oil on canvas, 1844
32 1/4 x 48 in (81.9 x 121.9 cm)
Lyman Allen Museum, New London, Connecticut
Image from The Artchive

and compare.....

Photo from

"What a magnificent site! Etna, above, with its eternal snows towering in the heavens — the ranges of nearer mountains — the deep romantic valley … I have never seen anything like it". So wrote the American artist Thomas Cole (1801-48) of Taormina in Sicily, which he visited in April 1842. While staying at Taormina he climbed Mount Etna, and made many sketches of the landscape and the Greek and Roman remains that were to be found there. When he returned to the United States he produced several large paintings based on his time in Sicily, of which ‘Mount Etna from Taormina’ is one of the most notable.
Cole’s view of Etna is structured into three zones, following established classical landscape tradition: foreground, middle ground and distance. The foreground represents the past, in the form of the ancient Teatro Greco, the Greek theatre (although most the presently visible structure is Roman), one of the celebrated sights of Taormina. Beyond the ruined arches and broken columns of the theatre lies the present, in the form of the cultivated valley in which man and nature exist in pastoral harmony. Still further beyond, and dominating the canvas, is Mount Etna, representing the eternal. Cole thus imbues his landscape with a narrative meaning, reflecting on the long history of human civilization and yet its relative insigificance and fragility compared with the eternal forces of divinely-ordered nature.
(From The Volcanism Blog)

Blackhead Range, 2006
Photographed by Daniel Case
View from the western face of Twin Mountain
Source Originally from en.wikipedia
Original uploader was Daniel Case at en.wikipedia

Thomas Cole Mountain in winter ("Camel's Hump")
View from nearby 3,520' (1,073 m) peak to west
Author Daniel Case, 2007
From Wikipedia, the free encyclopedia

The theory of the Sublime was the guiding philosophy that inspired Thomas Cole and his followers to sketch and paint along the Hudson River and its environs. Subscribing to this concept meant believing that God had created the land, and that human beings could commune with that God by prescribed reverential behavior. In order to succeed, one must be quiet, alone and far away from civilization in unspoiled Nature. Experiencing the Sublime, one then could and should express their exalted feelings through paintings or literature that, in turn, inspired others to believe that the landscape had supernatural powers. In other words, having a Sublime experience whose source was the wilderness landscape meant the recipient was elevated personally and aesthetically above most of humanity, and was then duty-bound to share the wonders of the experience so that other might be ‘pulled up’ as well. A sublime experience was an ultimate experience, and much more complex than the limiting descriptions of ‘beautiful’ or ‘picturesque’.
A part of Romanticism is Luminism, an exaggeration device whereby the effects of light are manipulated so that it appears to be saturating or atmospheric, and so that certain natural forms seem ‘stage lit’. Many Hudson River School painters showed a fascination with Luminism because of their generally held view that the natural light, especially of sunrise and sunset, on the American wilderness was clearer and more radiant than the counterparts of England and the European continent. Expressing this idea gave American painters a feeling of superiority about their subject matter. Also creating this special light on canvas had the potential of spiritually transporting the artist and viewers to the ‘Source’, meaning the place of origination of the emanating light from where one could more clearly understand the universe.
(copyright © 2000-2009 AskART)

Friday, August 28, 2009



Image from

Copyright 1996-2009 Motorcycle USA, LLC

Triumph is a privately-owned British company with over 100 years of history. Triumph has always had its own distinctive character and a history of creating bikes that become design classics since they first came to market in the 1900s. Like the rest of the British motorcycle industry, Triumph went out of business by the 1980s. But the brand was resurrected in the 1990s by British industrialist John Bloor who has built a lineup of cutting-edge sportbikes to nostalgia-themed throwbacks.
( © 2004-2009 Verticalscope Inc)
A new range of motorcycles using famous model names from the past arrived in 1991. New 750 cc and 900 cc triple-cylinder bikes and 1000 cc and 1200 cc four-cylinder bikes all using a modular design to keep production costs low – an idea originally put forward, in air-cooled form, in the early 1970s by Bert Hopwood but not implemented by the then BSA-Triumph company – were built. There were early problems and the four-cylinder 600 cc sports TT600 was described in reviews as "unpleasant at low revs due to a lethargic and unpredictable throttle response, with anonymous styling". As sales built, the big fours were phased out of the lineup and parallel twins and triples became the marketing and development focus of Triumph's marketing strategy. Triumph also decided to exploit demand for 'retro' motorcycles with modern engineering. The 865 cc versions of the Triumph Bonneville and Thruxton look and sound original but internally they have modern valves and counter balance shafts.
Like many of the motorcycle companies that burst onto the scene at the turn of the 20th century, Triumph had its roots in the bicycle industry. The "New Triumph Co. Ltd." began in 1886 as the "Triumph Cycle Company," of Coventry, England. New Triumph Co. Ltd. was backed by the Dunlop Tyre Company in Dublin, Ireland.
The Triumph Cycle Company was founded by Maurice Johann Schulte and Siegfried Bettmann (1863—1951), both natives of Germany. Bettmann emigrated to England 1884, while Maurice (Mauritz) Schulte, an engineer by trade, oversaw production in Germany. Bettmann's first business in England was "S. Bettmann & Co." of London, which imported bicycles and sewing machines manufactured in Germany, then sold under the S. Bettmann & Co. brand in England.
1940 was a watershed year for Triumph. The 'Model 3H' became a staple for the British army under the name 3HW, positioning the Triumph factory as a military target for Germany, along with Coventry's Dunlop, Daimler, GEC, Humber, and Whitworth plants. The Coventry factory was destroyed in November, 1940 as part of the German 'blitz of Coventry' - code-named by the Luftwaffe as "Moonlight Sonata." New factories were built in the West Midlands city of Meriden and in Warwick during 1942.
During the mid 1940s, the traditional 'springer' front fork assembly was replaced by the new 'telescopic fork' design. Five new models were introduced: the "3T" 349cc single-cylinder touring bike, the "5T Speed Twin," "Tiger 100," the 649cc "Thunderbird," and 500cc "Trophy."
(Copyright © 2009
With the success of Honda's CB750, and several management changes and gaffs, Triumph went into a tailspin. In 1973, the British government stepped in to rescue its indigenous motorcycle industry, and NVT ("Norton Villiers Triumph") was created out of the three faltering companies: Villiers Engineering Ltd., Norton Motorcycles, and Triumph Engineering Ltd.
In a final attempt to save the British motorcycle industry, the "Meriden Motorcycle Cooperative" was formed by the British Labour Party, but this also proved to be too little, too late.
Finally succumbing to competitive pressure from the Japanese, the British government threw in the towel on any future bailouts, and the West Midlands/Meriden Triumph factory was shut down in 1983. The Triumph name lived on briefly under Les Harris of "Racing Spares," a Triumph parts supplier in Devonshire, South West England. Racing Spares continued to produce the Bonneville and Tiger from 1985 through 1988.
Mr Harris, a motorcycle enthusiast, set up his own business in 1974 manufacturing and selling spare parts for classic motorcycles. As British motorcycle firms Norton Motors, BSA Small Heath and later Triumph collapsed, Mr Harris would pay for and store parts to be delivered straight to customers. As the parts stocked up, L F Harris International Ltd started trading out of a warehouse in Newton Abbot before acquiring an engineering company in Leighton Buzzard and opening a retail shop in Paignton.
Mrs Harris said: "With the demise of the Triumph motorcycle factory in Meriden, Les and I made a bid for the rights to the Triumph name in 1983. Unfortunately we were unsuccessful in this; however, we were offered the opportunity to licence the name for five years [by John Bloor, current owner of the Triumph name] and so an incredible journey began with the move to a bigger factory and warehouse."
Press coverage of their venture was global and resulted in an invitation to Buckingham Palace and the Houses of Parliament. In 1987 the Harris' were visited by the then Prime Minister Margaret Thatcher.

Triumph motorcycle logo
Author DaiFh
Image from Wikimedia Commons

TRIUMPH TIME LINE (From © 2004-2009 Verticalscope Inc):
1883 Siegfried Bettmann moves to Coventry, England from Nuremberg, Germany.
1884 Bettmann starts an import-export company. He imports German sewing machines and also sells bicycles badged with the name “Bettmann.”
1887 Bettmann changes the name of his company to New Triumph Co. Ltd. (Later it will be changed again to Triumph Cycle Co. Ltd.) His principal investor is John Dunlop, a Scottish veterinarian who, albeit briefly, holds the patent for the pneumatic tire. Nice idea, too bad he didn’t really have it first! (Another Scot, R. W. Thompson, was the real inventor.) In any case, Dunlop is the first to successfully commercialize the invention.
A German engineer, Mauritz Schulte, joins Triumph. He convinces Bettmann that Triumph should design and produce its own products.
1888 The company buys an old ribbon-making factory in Coventry and sets it up to make bicycles.
1895 Schulte imports one of the first “practical” motorcycles, made by Hildebrand and Wolfmuller, to study the machine. Triumph considers making it under license, but under English law, powered vehicles are subject to a 4-mph speed limit. A man must walk ahead of each vehicle waving a red flag. This is bound to limit commercial appeal, and Triumph chooses not to get into the motorcycle business.
1902 With the repeal of those onerous sections of the Locomotive Act at the end of the 19th century, Schulte sets out to design his own motorcycle. First Triumph is produced – known as No. 1. This is basically one of the company’s bicycles, fitted with a 2-hp Minerva engine made in Belgium.
1903 Triumph opens a subsidiary in Germany to build and sell motorcycles there. Better engines are sourced from JAP (the initials of James A. Prestwich.)
1905 Triumph produces its first motorcycle completely in-house. It’s powered by a 3-hp engine and has a top speed of 45 mph.
1907 Annual production reaches 1,000 units. A new 450cc motor makes 3.5 hp.
1908 A new model comes with a variable pulley to help with difficult inclines. To change gears, the rider comes to a complete stop, gets off the bike and moves the belt by hand. Jack Marshall wins the single-cylinder class at the TT (on the old Peel course) averaging about 45 mph. It’s not known if he stopped to change gears or just pedaled his ass off, too.

Triumph 1908
Keith Walters ancestors
The picture was taken in Abergwilly, Carmarthenshire (Wales)
Left to Right: William Henry Lott/ Maria Arthur/
little girl Sybil Maud Evans (born in 1897) / David Arthur
From Keith Walters at

1910 Triumph makes a big advance with the ‘free engine’ device (basically, the first practical clutch), which allows the user to start the engine with the bike on its stand and ride away from a standing start. There are two models in the lineup, and sales hit 3,000 units!
1911 Most bikes are fitted with footpegs only, not pedals.

1912 Triumph TT Roadster
Picture was taken in South Mymms, Hertfordshire
(between St Albans and Potters Bar) in 1915
From Martin Quince at

1912 Triumph TT Roadster, 499cc
© Motorbike Search Engine

1913 Schulte builds a prototype 600cc vertical Twin.

1913 Triumph Model H
Lou Dalby grandfather George Dalby astride his 1913 Triumph
Lou Dalby at

1914 Despite its strong connection to Germany, Triumph is chosen by Col. Claude Holbrook to supply the Type H motorcycle for military Allied military service. Triumph will sell 30,000 motorcycles to the military over the course of WWI.

Triumph in 1915
From Carl White at

1916 Triumph Trusty H

Nicknamed the 'Trusty' Triumph due to its great reliability under difficult conditions in the First World War. A total of 30,000 machines were produced for military service by the end of the war in 1918.
It was essentially an updated Model A but with just a kick-start and no pedals like previous models. A chain primary drive connected the engine to the Sturmey-Archer hand operated gearbox, which was then linked to a belt final drive.
(Profile created by Laurence Mee on 06/05/2009 at copyright © 1997-2009 of the Triumph Owners' Motor Cycle Club)

1919 Schulte leaves the company, with a (very!) generous severance package. He’s replaced by none other than Col. Holbrook.

1919 Triumph Junior

1919 Triumph Model H
Picture of Anne Weyers's mother
Edna Westwood (her married name was Blackhall)
and her mother Ethel Westwood born 1894
From Anne Weyers at

Post 1919 Triumph Model H or SD
FromAndy Breeden at

1919 Triumph Model H
From Andy Breeden at

Triumph motorcycles had now proved themselves worthwhile machines and in 1910, a new advance was made to make riding a Triumph even easier - the ‘free engine’ device. This device meant that the engine could be started with the bike on its main stand, via the pedals, rather than by bump starting or pedalling furiously for 30 yards or so. By the outbreak of the First World War the Type A, as it was known, had a 550cc engine slugging out 4bhp. The British Government placed orders with Triumph in order to equip army despatch riders at the front. The now legendary Triumph Type H was pressed into service from late 1914 onwards and, in the face of the mud and misery that existed for its riders in the Great War, earned itself the nickname ‘the Trusty’. The decade ended on a sour note though as Schulte parted company with Triumph in 1919 after disagreeing with Bettmann’s desire to diversify Triumph’s manufacturing capabilities.
(© Copyright Triumph Motorcycles 2008)

1920 Triumph produces the 550cc Type SD, the company’s first bike to feature a chain-driven rear wheel. SD stands for Spring Drive – it’s an early version of a cush drive.

1920 Triumph Model H & Sidecar
The 4hp (550cc) Triumph Model H was designed in 1914
With a 3 speed gear box and belt final drive
a favourite motorcycle of army despatch-riders in WW1
(Owned by Joe Fryer VMCC, Cheltenham)
© Motorbike Search Engine

1920 Triumph Junior Baby, 250cc
© Motorbike Search Engine

1921 Bicycle-style rim brakes are replaced by drum brakes. The new bikes need better brakes, as they now make a lot more power – especially the prototype 20-hp Model R, with four-valve head. It is known as the “Riccy” after one of its designers, Frank Ricardo.

1922 Triumph Model H
A super 1922 Model H 4HP 550cc
Single cylinder 4 stroke with a Sturmey Archer 3 speed gearbox
Won two first class awards at the Banbury Run (1995 and 1996)
Awarded the Jack Groves Memorial Trophy At Banbury 2002
for 'the best vintage machine in original condition'

1922 Brand new Triumph 4HP Chain cum Belt
Photo showing Carrick Watson's Father, Jimmy Watson
Bought in May 1922
From Carrick Watson at

1923 The 350cc Model LS is the first Triumph with an oil pump driven by the motor. (Until then, the rider had to pump oil by hand.)

1923 Triumph Model H
Marple, Cheshire
From Carl White at

1924 Triumph SD

On the motorcycle front, two years after the end of hostilities in Europe, Triumph unveiled another evolutionary motorcycle, the Type SD, the first Triumph to dispense with belt final drive in favour of a chain-driven rear wheel. With a capacity of 550cc the Type SD was too big to enter the Senior TT so Triumph developed an all-new single cylinder engine of 500cc capacity. The ‘Riccy’, as it became known, went on to collect many world speed records, including the flying mile with a speed of 83.91mph. Other models followed including the basic Model P, which sold 20,000 units, and the TT (or Two Valve, as it was called), which became the mainstay of Triumph’s range.
(© Copyright Triumph Motorcycles 2008)

1925 The 500cc Model P is affordable and a commercial success – at first. Triumph sells a heck of a lot of them, but owners are disappointed by poor build quality and the company’s reputation is harmed. Towards the end of the year, Triumph improves things.

1926 Triumph Model P
Introduced in 1925
The new machine was entirely conventional
(side valve engine, three speeds and chain drive)
© Motorbike Search Engine

1927 Production hits 30,000 units.

1925 Triumph Model P
Pictures taken before and after the Irish National Rally
From Philip Moss at

1927 Triumph TT
Owner has Triumph documents
including manuals, warranty card, a complete toolroll
and it's original registration certificate
Seen here with a factory fitted original Watsonian sidecar

1927 Triumph W
Kirkland, Washington
Image by Richard Doody at at

1929 Wall Street stock market crashes. Triumph sells its German subsidiary.
1930 Under pressure from creditors, Bettmann is deposed as head of the company. A small two-stroke, the Model X, is the first Triumph with unit construction.

1930 Triumph CTT
Taken in Coventry
Made in November/December 1929 for the 1930 season
Sent in by Bill McDonald at

1931 Triumph NSD
with a 549cc side-valve inclined engine
Chris Holloway (on the tank)
with his mother, born in 1910
From Chris Holloway at

1931 Triumph Junior Model X, 174cc
© Motorbike Search Engine

1932 The noted engine designer Val Page joins the firm. Page quickly creates several new motors, including a 150cc two-stroke and 250, 350 and 500cc four-strokes.
1933 Page’s first attempt at a 650cc Twin is a commercial failure; the public seems to want V-Twins.

1934 Triumph 6/1
Triumph's first parallel twin designed by Val Page
(the engine is offset to the right in the frame)
dropped when Edward Turner took over in 1936
and replaced by the 500cc Speed Twin

1935 A foot-change gearshift is available as an option on 650 Twins.

1935 Triumph L2/1
From Geoff Coglan of Oz at

1936 Triumph’s car and motorcycle businesses are split. Jack Sangster, who had owned Ariel, buys the motorcycle business and immediately hires Edward Turner (who had previously created the Ariel Square Four) as chief designer. Sangster reinstitutes Bettmann as the company chairman.

1936 Triumph Motorcycle
Bellevue, Washington
Images by Richard Doody at

1937 Turner unveils the 498cc Speed Twin (T100) that has a top speed of over 90 mph. It is the definitive British motorcycle and establishes a pattern for Triumph bikes that will last more than 40 years.

Legendary Triumph engine designer Edward Turner
© 2009 Motorcycle Hall of Fame

1938 Bill Johnson buys an interest in British and American Motors, a bike shop in Pasadena. (Johnson Motors will later distribute Triumph motorcycles across the American West.)

Triumph Speed Twin 1939

1939 500cc OHV Triumph Tiger T100
From J Vroman of Belgium at

Triumph Tiger 100 1939 ads
Image from

The Triumph Tiger 100
© 2009 Motorcycle Hall of Fame

Triumph 1939
Image from

1939 Triumph Range
Image from

1940 All motorcycle production is geared towards the war effort. With a new bike in the works, the Triumph factory is demolished in the blitz of Coventry.

1940 Triumph Speed Twin
Portland, Oregon
Image from at

1940 Triumph 3HW
Aad Weers's brother Dirk Weers (front) of the bike
others are Aad Weers's cousins Eddie (middle) and Marga Bossché
Many ex British Army bike was left after the War in Holland
picture was taken 1958 and the street is Frans Halssingel, Rotterdam.
From Aad Weers at

1941 Navy Triumph 3HW
From Dave Martin at

1941 Triumph 3HW
From Jason of California at

1942 A new plant opens in Meriden, England.
1945 Over the course of the war, Triumph has sold 50,000 motorcycles to the military. With the return of peace, the company focuses on three models, the Tiger 100, the Speed Twin and the smaller touring 349cc 3T. All models feature a telescopic front fork.
1946 Ernie Lyons wins the Manx Grand Prix on a redesigned Tiger 100, using a lightweight all-alloy motor that Triumph designed for use on aircraft during the war. (The motor powered a radio generator.)

Triumph Speed Twin 1946

1947 A rear “sprung hub” is optional.

Vintage 1947 Triumph Speed Twin 5T
Owner: John Niesley, California
2007 Legend of the Motorcycle Concours D'Elegance
Photos from the 2007 'Legend of the Motorcycle' Concours D'Elegance
Copyright © 2007 KHI Inc

It was Edward Turner who designed the 500 cc 5T Speed Twin, released in September 1937. This motorcycle formed the basis for all Triumph twins until the 1980s.
In 1948 the 5T was fitted with the Sprung-Hub rear suspension, war having delayed it from 1941. However by 1955 the rear suspension became the standard swinging arm type used by all other manufacturers.
Coil ignition replaced the original magnetos in 1953, which made the engine easier to start.
(Profile created by Laurence Mee on 31/12/2007 at copyright © 1997-2009 of the Triumph Owners' Motor Cycle Club)
After the war the recovery of Triumph at Meriden was largely due to the Speed Twin, which was developed in 1947 with telescopic forks and optional sprung rear. Further development led to a 'unit' engine and gearbox construction and styling changes including the 'Bathtub' fairings' and continued in production through to 1959.
(ronsaunders47 at

1948 Triumph GP
From Dave Martin at

1949 The off-road 500cc TR5 “Trophy” and big-bore 649cc Thunderbird are released. The Trophy is named in honor of the British team that uses the bike to win the ISDT. It’s powered by a version of the “aircraft” motor.

1949 Triumph 3T Delux
Seen at the 2005 Bristol Classic Bike Show
Designed by Edward Turner for the 1939 season

1949 TRW 500cc

1950 Triumph sells more bikes in the U.S. than any other market, including Britain.

1950s Triumph Thunderbird
From Andy Breeden at

Pictures of John Patt on 1950 Triumph Thunderbird 6T
From at

1951 Jack Sangster sells Triumph to BSA for £2.5 million.

1952 Triumph Thunderbird 6T
photo was taken in New Zealand in 1952
From Denise Laing at

1952 Triumph Terrier
Triumph Terrier gallery
© Motorbike Search Engine

1953 The 149cc OHV Terrier is released.
1954 The Tiger 110 is released, which is basically a tuned (40+hp) version of the Thunderbird, with a rear swingarm.
Marlon Brando rides a ’50 Thunderbird in the film “The Wild One.”

Triumph Thunderbird
Of Blackbirds, black leather and Brando
© 2009 Motorcycle Hall of Fame

In 1953, the year this motorcycle was made, all Thunderbirds were blue. Americans wanted them in black, though, so the factory complied, creating a tougher-looking, U.S.-only version known as the Blackbird.
But the most famous element of the Triumph Thunderbird image came from Marlon Brando’s performance in a 1954 movie called “The Wild One.” Riding his own 1950 Thunderbird, Brando portrayed motorcycle-gang member Johnny in the film that started the biker-flick genre.
A still shot of a leather-jacketed Brando, astride the bike, with a stolen dirt-track trophy attached to the headlight, has become one of the most enduring images of motorcycling from the ’50s.
This particular Thunderbird, made in the midst of that historic time, is now owned by Dick Brown of Ashville, Ohio, and was previously on display in the Motorcycle Hall of Fame Museum at AMA headquarters in Pickerington, Ohio.
(© 2009 Motorcycle Hall of Fame)

1954 Tiger 110 (T110)
Copyright © 1997-2009 of the Triumph Owners' Motor Cycle Club

1954 Triumph Terrier T15
© Motorbike Search Engine

At the time this bike was released it was the fastest production motorcycle at 115mph. It had excellent fuel economy at 60mpg and with a light and precise gear change it was very easy to ride, though the frame did tend to flex on tight corners.
This was a 'sporty' version of the Thunderbird and was nicknamed the 'Tiger-Bird' in the USA. It was ultimately replaced by the TR6 Trophy 650.
(Profile created by Laurence Mee on 20/10/2007 at copyright © 1997-2009 of the Triumph Owners' Motor Cycle Club)

1955 Johnny Allen goes 193 mph on the Bonneville Salt Flats in a streamliner powered by a tuned 650cc T-bird motor.
The TR6 “Trophy” is the first Triumph built expressly for the U.S. market. It will prove popular with desert racers.
1957 The exquisitely styled 350cc “Twenty one” may be an aesthetic success, but it proves a commercial failure.

1957 Triumph TRW
© Motorbike Search Engine

1958 Mike Hailwood teams with Dan Shorey to win the Thruxton 500, which is one of the most important races in the UK, from a commercial perspective.

1958 Triumph Twenty One
Barber Motorcycle Museum
Source originally posted to Flickr s Barber Motorcycle Museum
Author Mike Schinkel
Image from Wikimedia Commons

1958 - Triumph Tigress e Tina
(Foto tratta dalla rivista Motor Cycle News)

1959 The very popular T120 Bonneville 650 is introduced. It’s an evolution of the Tiger, fitted with twin carbs – something American dealers have long been asking for. It will remain in production until 1983.

1959 Triumph Bonnevilles
Tangerine Dream
From Doug Mogano at

Triumph Bonneville 1959

The Bonneville would be Edward Turner's last Triumph, and most consider it to be his best design. It debuted in 1958 but production didn't start until 1959. The Bonneville was powered by Triumph's famous 650-cc parallel-twin, with a pair of Amal carburetors rather than just a single carb. The 650s were converted to unit construction in 1963, which resulted in a more compact design. An improved frame was also introduced at this time.
(By Laurence Mee at copyright © 1997-2009 of the Triumph Owners' Motor Cycle Club)

1959 Triumph 6T
© Motorbike Search Engine

1961 Bert Hopwood moves from AMC to Triumph, where he conceives a three-cylinder motor.
1962 Triumph design staff is further strengthened with the arrival of Doug Hele, from Norton. He finalizes the design of the Triple motor (though it will not appear for several years). Hele also designs a stiffer, double-cradle frame for the Bonneville, but it was not adopted.

Motorbike Triumph Bonneville T120 (1962)
Deutsches Zweirad- und NSU-Museum
Author Joachim Köhler
Courtesy of "Deutsches Zweirad- und NSU-Museum
From Wikipedia, the free encyclopedia

1962 Triumph 650 SS
© Motorbike Search Engine

Tigress e Tina 1962

1963 All the 650 Twins now feature unit construction. With the encouragement of Johnson Motors, a stripped-for-racing version of the Bonneville is produced for the U.S. market only. The T120C “TT” will become one of the most sought-after Triumphs of the period.

1964 Triumph TRW 2B S.V. Twin
One of the last one's made Oct 1964 for the WD
it's still a s.v engine (flat head) and pre unit gear box
© Motorbike Search Engine

Triumph Trophy TR6SC 1965
American spec 1965 650cc Triumph Trophy

A rare 650cc 1965 T120C Bonneville Street Scrambler
Made for the USA market 1965 was its last year of production
Same specification as the T120/R but with a few differences
Taken at the 2004 Bristol Classic Bike Rally
Seen at the Stafford Rally that year too

1966 Buddy Elmore wins the Daytona 200 on a factory-prepped 500cc Tiger. The Gyronaut X-1, a streamliner powered by two Triumph 650cc motors, goes 245 mph on the Bonneville Salt Flats.
1967 Gary Nixon proves that last year’s Daytona 200 win was no fluke by repeating the feat.

1967 Triumph Bonneville TT Special 650
Owner: Don Triolo, California
2007 Legend of the Motorcycle Concours D'Elegance
Ffrom the 2007 'Legend of the Motorcycle' Concours D'Elegance
Copyright © 2007 KHI Inc

L.T. Patterson's 1967 Triumph Bobber
© 2007 British Cycle Supply Company Ltd

The bike was built by Ian Barry in Hollywood California. It's a 1967 650 Bonneville. It has a 750 kit; the tank is from a Triumph 500; the look is a Classic Bobber (it gets its name from the cut back fender). The style is a cross between drag bike and a oval track racer. It has Cycle Shack 1-3/4" drag pipes and Bernier Vintage Motorcycles round oil tank. The frame is stock, but the style makes it look much lower. Bret Berry has an Ian Barry bike also.
(© 2007 British Cycle Supply Company Ltd)
1968 The 750cc Triple finally makes an appearance, powering both the Triumph Trident and the BSA Rocket 3. Although the motor is powerful by the standards of the day, it is too little, too late. Within weeks, the world will be buzzing with news of the Honda 750-Four, which has overhead cams, a front disc brake and electric start to boot.
1969 Malcolm Uphill wins the Production TT on a Bonneville. In the process he puts in the first-ever lap over 100 mph on a production motorcycle.
Rob North, an expatriate Englishman based in San Diego, designs a stiffer frame for the Triples, just in time for Daytona.

1969 & 1970 Triumph T120 R Bonneville Motorcycle
Owner: John Russell & Kirk Moon
2007 Legend of the Motorcycle Concours D'Elegance
From the 2007 'Legend of the Motorcycle' Concours D'Elegance
Copyright © 2007 KHI Inc

1969 Triumph Trackmaster
© Motorbike Search Engine

This 1969 750cc Triumph T120R Bonneville motorcycle engine with a 1967 Trackmaster nickel plated frame.
This bike is a genuine vintage race bike that raced at Ascot and other area circuits in Southern California during the late 1960's, early 1970's.
(© Motorbike Search Engine)

1970 Uphill wins the proddie TT on a Triple, which is nicknamed “Slippery Sam.” Not because of its well-designed fairing, but because it leaked oil all over Uphill’s boots.

1970 Norton in Fireflake
750 Commando Roadster
(golden bronze as original)
© 2007 British Cycle Supply Company Ltd

9.4 Foot Long Triumph Special
1970 Triumph Motor

1970 TR6R Chopper

1971 A new frame appears for the Bonneville. It is a Rob North design based on the Trackmaster dirt-track frame and it carries the oil in the large-diameter top tube.

1971 650 Bonneville

1972 Triumph Hurricane TRX75 designed by Craig Vetter
copyright © 1997-2009 of the Triumph Owners' Motor Cycle Club

The Triumph Hurricane was developed by the American motorcycle designer Craig Vetter, based on the BSA Rocket 3 engine. The prototype was badged as a "BSA" and called the Rocket Three, but when BSA closed it was re-badged as a Triumph.
Between 1972 and 1973 only 1200 Hurricanes were made.
(Profile created by Laurence Mee on 29/07/2009 at at copyright © 1997-2009 of the Triumph Owners' Motor Cycle Club)

1973 The BSA group, which includes Triumph, posts a huge financial loss. The decision is made to shut down BSA and focus resources and energy on Triumph. Craig Vetter’s freelance “American hotrod” design for the Triple, which was to be a BSA model, is produced as the Triumph X75 Hurricane.

1973 X75 Hurricane 750cc

Bert Hopwood designs a modular engine based on an overhead-cam, 200cc Single that can be produced as a 1,000cc across-the-frame Five. It will never see the light of day.
By the end of the year, the writing is on the wall for the British motorcycle industry. Triumph merges with Norton and is put under the control of financier Dennis Poore.

1975 This is the final year of production for the Trident. Bonneville production continues after the workers form a co-op to keep the Meriden factory going.

Triumph Legend 741cc 1975
Author Thruxton
Image from Wikimedia Commons

Triumph Legend 741cc 1975
Author Thruxton
Image from Wikimedia Commons

1977 NVT goes bankrupt. The Meriden Co-op introduces the Bonneville Jubilee Special in honor of the Queen’s 50th birthday. It’s 750cc and has cast wheels.
1980 Although the British government is willing to write off a substantial debt, the Meriden factory is still deep in the hole. There are a few interesting bikes on the drawing boards but no capital to develop them, nor is there any reason to think the work force could or would produce machines capable of rivaling the ascendant Japanese manufacturers, which are going from strength to strength.

1982 T140 TSS 750cc

1983 After some lean years, the Meriden factory closed its doors. English property developer John Bloor bought the remains later that year, saving the Triumph name. Bloor licensed the Triumph name to a small shop that continued to assemble a couple of Bonnevilles a day until 1985.
1985 Bloor, an unlikely savior, builds a subdivision on the site of the old Meridan factory, but he also acquires a new site, in nearby Hinckley. There, he outfits a new factory with new prototyping tools.
1987 The first “new Triumph” motor, a 1200cc Four, runs on the test bench.
1989 Bloor stakes at least $60 million of his own money on new mass-production tooling for the Hinckley plant.
1990 Triumph unveils six new models at the Cologne Show in September: The unfaired Trident 750 and 900 Triples, the touring Trophy 900 Triple and 1200 Four and the sports-oriented Daytona 750 Triple and 1000 Four. The machines are, by and large, better than most industry pundits expected. That said, they’re a step or two behind the best that Japan has to offer.

1992 Bucaneer 750cc

1994 The Speed Triple is introduced. It’s not trying to be a Japanese bike, and it’s the first of the new Triumphs to earn several unqualified positive reviews. The under-rated Tiger “adventure bike” also appears this year. Triumph Motorcycles of America is founded.
1995 Exports of new Triumphs to America begins.
1997 The 50,000th new Triumph is produced.
1998 The fine Sprint ST sports-touring bike is launched.

1998Sprint ST 955i
copyright © 1997-2009 of the Triumph Owners' Motor Cycle Club

This is a very capable machine, whether it is being ridden around back roads or mile munching across the continent. It is just as happy with a pillion and luggage, and though the Triumph top box was a little flimsy you could get two crash helmets into it.
It was available in the colours Aston Green, Aluminium Silver, Caspian Blue, Tornado Red, Sapphire Blue, British Racing Green.
The engine was retuned with the 2002 model pushing power up from 108 to 118bhp.
It was phased out in 2004 in favour of the new Sprint ST 1050 model.
(Profile created by Laurence Mee on 19/10/2007 at copyright © 1997-2009 of the Triumph Owners' Motor Cycle Club)

1999 Triumph serves notice that it will enter the ultra-competitive 600cc supersport market by creating the TT600. It will be good, but not quite good enough.

2000 Triumph Trophy 1200

2001 Triumph Tiger 955i

2002 A massive fire guts the main Hinckley assembly plant. The smoke clouds definitely have a silver lining, however. The company’s insurance claim funds a “do over.” The design and R&D shops are undamaged and continue new-bike development while the factory is rebuilt and refitted with state-of-the-art tooling. Triumph releases the four-cylinder Daytona 600 supersports bike.

Triumph Legend TT 900 2003
Looks like a motorcycle, feels like a motorcycle
(& with a little work... even sounds like a motorcycle...)
© Motorbike Search Engine

2003 Triumph Daytona 600
Copyright 1996-2009 Motorcycle USA, LLC

2004 The Triumph Rocket III is released, which is the first production motorcycle to displace over 2000cc. It works better than most test riders expect it will. Still, it’s an answer to a question that few real motorcyclists are asking.

2300 cc Triumph Rocket III The largest production bike in the world

2005 Triumph bores out the Daytona 600 to 650cc. The change bars the bike from competition in the 600 Supersport class, but it was not having success there, anyway, despite a popular win at the Isle of Man in 2003.) The change makes the bike a great “real world middleweight,” especially for taller riders.

2005 Triumph Tiger 955i

2005 Triumph Tiger 955i (fuel injected triple) in excellent condition. Runs strong and shifts smooth. 6 Speed, Full Lockable Luggage, Fresh Tune up (coolant, K&N air filter, synthetic oil change and battery). Tires and brakes are in great condition.
Bike comes with Triumph center stand, passenger back rest pads, taller windshield and 2 spare sets of keys for ignition and luggage, factory tool kit and owners manual.
Nice thing about the 2005 Tiger is the upgraded fuel line. No more prone fuel leaks that plagued the 2001-2004 models. Cast wheels use tubeless tires allowing more options and easier tire changes.
2006 The Daytona is re-released as an all-new 675cc triple. It’s class-legal in European supersport racing (and in Formula Xtreme here in the U.S.). With this bike, the new Triumph company has truly come of age.

SCRAMBLER 2007 Model

Triumph Rocket III
Author TR001
From Wikipedia, the free encyclopedia

Triumph Thruxton 2008
Author TR001
Image from Wikimedia Commons

Triumph Thruxton was named after the famous race course in England, the Bonneville Thruxton is reminiscent of the bikes of the 1960's that ran in the 500 mile Thruxton race circuit endurance race.
Triumph won first, second and third in 1969, and the bikes of that era helped to create the "cafe racer" craze.
The new Triumph Bonneville Thruxton 900 has a revised engine of 865cc with new cams, carburetors and great-looking megaphone exhausts.
(Copyright © webWorld International, LLC - 2000-2009

2006 Triumph

2009 Triumph Bonnevilles
Anniversary LE Bonneville
From Doug Mogano at

2009 Triumph Bonneville T100 © 2004-2009 Verticalscope Inc

2009 Triumph Bonneville T100 © 2004-2009 Verticalscope Inc

2009 Triumph Bonneville 50th Anniversary

The 2009 Triumph Bonneville SE
British manufacturer's Modern Classic line.
Copyright 1996-2009 Motorcycle USA, LLC

Photos by Pamela Collins at ©2009 Women Riders Now™

Since its inception in 1959, the British-bred Bonneville has captured motorcycling souls the world over with its simplicity of spirit. Fifty years later and newly revised this iconic motorcycle still "feels" true to that nature in spite of the 21st century technology it now boasts. Simultaneously progressive and nostalgic, consider this new Bonneville a two-wheeled time traveler.
Though many who lived during this bike's heyday of the 60s and 70s can appreciate its sentimental value, the 2009 Bonneville and Bonneville SE models should hold great appeal to newer riders, smaller riders or anyone who wants a great riding, handling and performing motorcycle that is undeniably cool. The changes wrought on the 2009 versions improve this icon's prowess but don't detract from the factors that made it so beloved.
(Story by Pamela Collins at ©2009 Women Riders Now™)

2009 Triumph Street Triple

Packing a powerful punch of 108PS peak power (106bhp) delivered at 11,700rpm, the Street Triple sits at the top of the naked middleweight category, and with 69Nm (51ft.lbf) of torque arriving at 9,100rpm, the bike is guaranteed to outperform all of its middleweight competitors and quite a few of the heavyweights too. The proven 675cc water-cooled three-cylinder 12-valve engine delivers strong low and midrange performance, from tickover to the redline.
(Copyright © BS Bikes Ltd 2008)

The Triumph Speed Triple 2010 15th Anniversary Special Edition

Triumph Speed Triple R 2010 15th Anniversary Special Edition

The 1050cc fuel injected three-cylinder engine that powers the Speed Triple is key to the bike’s brutish charm, pumping out a great surge of bottom-end torque, followed by a massive mid-range punch and an impressive level of overall power, all of which is delivered to the rear wheel via a slick shifting six-speed gearbox. Peak power is 132PS (131bhp) at 9,250rpm while peak torque of 105Nm (77ft.lbf) arrives at 7,500rpm. Triumph’s second generation Keihin Engine Control Unit offers sophisticated mapping for quicker starting, cleaner running and fuel economic engine.
(Copyright © BS Bikes Ltd 2008)

2010 Triumph Daytona 675 SE
Urban Sports Daytona
Copyright 1996-2009 Motorcycle USA, LLC

Triumph’s R&D department has taken an evolutionary approach with the 2009 Daytona, using experience gained from racing in the 2008 Supersport World Championship to develop the new machine. The latest specification 675cc three-cylinder engine utilises a 450rpm higher rev limit than the 2008 model, while the hydraulic cam chain tensioner and higher ratio first gear have jumped straight from the race kit to become standard equipment for the road. The new exhaust system, 2kg lighter than on previous models, recalibrated fuel injection and revised cylinder head, with new valves and a modified combustion chamber, contribute to a powerplant pumping out 128PS at 12,600rpm and revving to a 13,950rpm redline.
(Copyright © BS Bikes Ltd 2008)

The slick graphite/black 2010 Triumph Tiger SE
Copyright 1996-2009 Motorcycle USA, LLC

At the Tiger’s heart is the amazing 1050cc, fuel injected, three-cylinder engine. This motor, known for its addictive character, has plenty of torque and impressive amounts of horsepower, with ample reserves of both for those two-up fully laden tours. Peak power of 115PS (113bhp) is delivered at 9,400rpm, with 100Nm (74ft.lbf) torque at 6,250rpm
(Copyright © BS Bikes Ltd 2008)

2010 Triumph Thunderbird
The Thunderbird sports traditional styling
Copyright 1996-2009 Motorcycle USA, LLC

2010 Triumph Thunderbird © 2004-2009 Verticalscope Inc

Parallel Twin Engine
Copyright 1996-2009 Motorcycle USA, LLC

Triumph unveiled the all-new Thunderbird cruiser that will join the 2010 model line-up. Designed to take on the best in the cruiser category, combining sleek and modern custom styling with strong performance and great dynamics, the Thunderbird delivers an authentic cruiser experience in a uniquely Triumph package. Thunderbird features an all-new 1599cc parallel twin-cylinder motor with six-speed gearbox and belt drive. The engine, with a bore and stroke of 103.8 x 94.3mm, will develop in excess of 75bhp in standard trim and produces more than 100 lb/ft of torque.
(Copyright © BS Bikes Ltd 2008)