Autour de la bicyclette 52, end of the article — L’Officiel du cycle, 3 May 1952, R. Ducoudray Closes with a Radior and a Daudon as Typical French Bicycles

From L’Officiel du cycle, du motocycle et du camping, 3 May 1952, N° 18, the spring number, page 20: end of ‘Autour de la bicyclette 52’ (article begun on page 17): a Radior (man’s) and a Daudon (woman’s) shown as typical French bicycles, the 11 to 12 million cycles in use, advice to dealers; signed R. Ducoudray. The title, headings, captions and lists are transcribed as printed; the text is summarized in Ebykr’s words, and the page images carry it in full.

— Page 1 —
AUTOUR DE LA BICYCLETTE 52

(Fin de l’article de la page 17)

[Ebykr summary; the article’s text is not reproduced. To illustrate the argument, the author says, the page gives without bias two photographs that seem to him to stand for typical machines of current French production, one for a man and one for a woman. The first is a Radior and the second a Daudon, two carefully built bicycles of different kinds that represent the French bicycle of the middle of the century among many marques honoring the national industry and offering dealers unlimited chances to satisfy customers.]

[Ebykr summary, after a paragraph break. The author insists that despite its 11 or 12 million units the French stock of cycles is largely “sous l’âge” (as it is said in the navy) or even past its age, and should be judged by its general condition and not its number. Dealers should remember it, because it offers them not only business openings, given an effort of persuasion, but also a way to be rid of tiresome, unprofitable and finally unsatisfying patching of old “bécanes” that have nothing left but their picturesque look.]

R. DUCOUDRAY.

[Text only. The end of a magazine article set in justified roman type in one wide column. The title “AUTOUR DE LA BICYCLETTE 52” runs across the head in large heavy sans-serif capitals, with the italic line “(Fin de l’article de la page 17)” centered beneath it. The text falls into two paragraphs, and the signature “R. DUCOUDRAY.” stands at the lower right in small capitals. The two photographs the text mentions are not part of this cut, which holds no picture, no firm’s name and no address.]