Just wondering about whether the Smithsonian has given Doyle McCormack any guidelines or standards to follow in his restoration of ex-D&H Alco PA #16 or if he's just doing it however he sees fit.
Obviously he's experienced in restoring historical equipment for mainline operation, but it seems like the Smithsonian's standards for restoration might be different than those of a private individual or organization focused on operation.

It appears that the Smithsonian's own staff is capable of meticulous restoration work as evidenced by some of the aircraft restored in-house for the Air and Space Museum. Is it common for them to use outside contractors for restorations?

Any thoughts/opinions?

davew833@yahoo.com

> It appears that the Smithsonian's own staff
> is capable of meticulous restoration work as
> evidenced by some of the aircraft restored
> in-house for the Air and Space Museum. Is it
> common for them to use outside contractors
> for restorations?

> Any thoughts/opinions?

Well, one thought is that each Museum is a law unto itself. Each organization has its own conservation facilities, staff and philosphy, which is probably a good thing given the wild disparities in the artifacts with which they deal.
However, this does mean that what's done at Air & Space doesn't necessarily have any influence or bearing on what's done at American History, and vice versa. Even if the work were done in-house it would not be done by the same people in the same facilitites.

In the case of the PAs my guess is that there isn't much concern with preserving original fabric (the cornerstone of the Air & Space restoration philosophy) becasue truthfully, there's so little original fabric left on those hulks to begin with. If saving the original fabric were the priority for these artifacts, then the best thing to do would be to mothball them and preserve them for study as they are.

However, I think what Bill Withhun has in mind is to preserve not the artifact per se (fabrication practices, die marks, materials etc) as to preserve and represent an era in design. In that case building what amounts to a replica around the surviving skelton is OK by me. The recreated PA will present the important thing (streamlined design) while posessing as a bonus a pedigree and heritage of continuous existence. Kinda like the USS Constitution, or the ax of the old fable.

eledbetter@rypn.org

> It appears that the Smithsonian's own staff
> is capable of meticulous restoration work as
> evidenced by some of the aircraft restored
> in-house for the Air and Space Museum. Is it
> common for them to use outside contractors
> for restorations?

Several years ago at one of the Sacramento Railroad History Preservation Symposium they had as a speaker one of the restoration specialists from the Air & Space Museum. One item mentioned was that the Air & Space Museum restoration crew would mark replacement parts as such so that future restorers would know what was replaced and in what year. Another interesting thing was that the Enola Gray (Spelling) was not restored to pristine condition; but metal seats with paint worn away were left that way, as that would be typical of its significant flight.

Both of these concepts are thought provoking.

Brian NOrden

bnorden@gateway.net

The PA is going to have to be, from what I'm told, put up for a restoration bid. Now let's say Doyle's not the lowest bid, but he has restored his PA, well, that gives him an edge over the other bidders as he has experiance with that particular style locomotive. He also will have left over pieces, such as the Santa Fe number boards that could, and will most likely come into the picture. I'm sure some out there look down at Doyle, for such things as painting the Daylight black. Trust me, he doesn't do anything with out a reason. As to the quality of job he's able to do, one only has to look to the restoration of his GN F-7. The locomotive was a complete basket case that had to have three axles swapped out before the locomotive was legal to move, and this was done in Tacoma, a couple of hundred miles from his home in Portland, with out a drop pit. The nose on this locomotive was so wasted, he reskinned the entire front end from the center of the number boards down. This wasn't easy, as the noses on the Es and Fs are all compound curves. Trust me, we all had our doubts. This was his "practice locomotive", and I would have to say if he did get the Smithsonian job, it would be up to Smithsonian standards.

If you would like to see this locomotive restored, I'd sugest contacting the Smithsonian to see if they have a PA fund, and donate.

Smokebox

Whether you like what he's doing or not, there's no denying Doyle's talent and...time managament skills! I don't know how he accomplishes all he does, running the #4449, rebuilding the boiler for CPR 2816, restoring and operating his own fleet of historic diesels (GN F7, D&H PA,"NKP" RSD4, etc.). I understand he's also an engineer for UP(?) If he taught a time management course for rail enthusiasts, I'd go.

davew833@yahoo.com

In Great Britain there is a gentleman who collects military vehicles, primarily armor. He acquired a World War 2 Grant (at least I think it was a Grant) model tank that was originally built for the US Army and was then lend-leased to the Australian Army. Originally delivered in Olive Green it was painted by the Aussies in a light tan.

In the restoration the tank was sandblasted down to bare steel, had primer applied, and was then painted in US Army green along with the correct markings. The next step was to paint it in its Australian colors and markings. The reason for the elaborate paint job was that when the tank got banged up it would chip down to the different layers of paint, which is what it did in actual use. I don't know of too many railroad restorations that go to this level of detail.

Richard

> Several years ago at one of the Sacramento
> Railroad History Preservation Symposium they
> had as a speaker one of the restoration
> specialists from the Air & Space Museum.
> One item mentioned was that the Air &
> Space Museum restoration crew would mark
> replacement parts as such so that future
> restorers would know what was replaced and
> in what year. Another interesting thing was
> that the Enola Gray (Spelling) was not
> restored to pristine condition; but metal
> seats with paint worn away were left that
> way, as that would be typical of its
> significant flight.

> Both of these concepts are thought
> provoking.

> Brian NOrden

Don't forget the quality job he did on SVRy's No. 19. It is simply amazing how that locomotive turned out.
Ron B
SVRR

ronbrin@eoni.com

What does everyone think he'll do next (after the PAs)? I read in an article somewhere that he had his eye on the Hudson in St Louis, but he may have only been expressing admiration for that particular locomotive. What do you guys think?

Andrew at SERM

Southeastern Railway Museum
sa750@boone.net

And he's been married to the same wonderful gal for years! I don't know how he does it, or how she puts up with it! hehe

Smokebox

The Old Guy has a thing for Allegheny's too....

> What does everyone think he'll do next
> (after the PAs)? I read in an article
> somewhere that he had his eye on the Hudson
> in St Louis, but he may have only been
> expressing admiration for that particular
> locomotive. What do you guys think?



orn197@teleport.com

To Brian Norden: Just curious, are you related the famous (war-winning) "Norden Bombsight"?