Some cool china box mold pictures:
Steven F. Udvar-Hazy Center: Grumman F6F-3 Hellcat
Image by Chris Devers
Quoting Smithsonian National Air and Space Museum | Grumman F6F-three Hellcat:
The Grumman F6F Hellcat was originally conceived as an advanced version of the U.S. Navy’s then current front-line fighter, the F4F Wildcat (see NASM collection). The Wildcat’s intended replacement, the Vought F4U Corsair (see NASM collection), initial flown in 1940, was displaying great guarantee, but improvement was slowed by issues, including the crash of the prototype.
The National Air and Space Museum’s F6F-3 Hellcat, BuNo. 41834, was constructed at Grumman’s Bethpage, New York, factory in February 1944 beneath contract NOA-(S)846. It was delivered to the Navy on February 7, and arrived in San Diego, California, on the 18th. It was assigned to Fighter Squadron 15 (VF-15) on USS Hornet (CV12) bound for Hawaii. On arrival, it was assigned to VF-three where it sustained harm in a wheels-up landing at NAS Barbers Point, Hawaii. Right after repair, it was assigned to VF-83 exactly where it was employed in a coaching function till February 21, 1945. Soon after quite a few transfers 41834 was converted to an F6F-3K target drone with the installation of sophisticated radio-control equipment. It was painted red with a pink tail that carried the number 14. Its mission was to be utilised in Operation Crossroads – the atomic bomb tests at Bikini Atoll. It flew on June 24, 1946, with a pilot, on a practice flight and was launched, unmanned, quickly soon after the 1st bomb test. Instrumentation on board and photographic plates taped to the handle stick obtained data on radioactivity. 3 much more manned flights preceded the final unmanned flight on July 25, 1946, which evaluated the first underwater explosion. Records indicate that exposure of this aircraft to the radioactive cloud was minimal and residual radiation is negligible.
F6F-3K 41834 was transferred to NAS Norfolk and logged its final flight on March 25, 1947, with a total of 430.2 flying hours. It was assigned to the National Air Museum on November 3, 1948, and remained at Norfolk until October four, 1960, when it was moved by barge to Washington and placed in storage. In 1976 this Hellcat was loaned to the USS Yorktown Museum at Charleston, South Carolina. A superficial restoration was performed at the museum, but due to the fact of the harsh environment and its poor condition the Hellcat was returned to NASM on March 16, 1982. In 1983, it was sent to Grumman Aerospace exactly where a team of volunteers fully restored the aircraft. In 1985, it was shipped back to the Paul E. Garber Preservation, Restoration and Storage Facility in Suitland, Maryland, and put in storage. NASM’s F6F-3 Hellcat is scheduled to be displayed in the new Steven F. Udvar-Hazy center at Dulles International Airport in Virginia in 2004.
Transferred from the United States Navy.
Grumman Aircraft Engineering Corporation
Nation of Origin:
United States of America
General: 338 x 1021cm, 4092kg, 1304cm (11ft 1 1/16in. x 33ft 5 15/16in., 9021.2lb., 42ft 9 three/8in.)
Heavy armor plate, reinforced empennage, R-2800-10W engine, spring tabs on the ailerons (increased maneuverability), could carry rockets as effectively as bombs.
Image from page 21 of “Examples of Chinese ornament chosen from objects in the South Kensington museum and other collections” (1867)
Image by Internet Archive Book Pictures
Title: Examples of Chinese ornament selected from objects in the South Kensington museum and other collections
Year: 1867 (1860s)
Authors: Jones, Owen
Publisher: London : S. & T. Gilbert, 4 Copthall Buildings, E.C. Back of the Bank of England
Contributing Library: Philadelphia Museum of Art, Library
Digitizing Sponsor: Lyrasis Members and Sloan Foundation
Click right here to view book on the web to see this illustration in context in a browseable on-line version of this book.
Text Appearing Just before Image:
ottle. There is muchof the Indian character in this instance, particularlyin the detached flowers at the base of the topic. Plate XCIV. From a painted china Jar. Composition on thefragmentary principle remarkable for the boldtreatment of the prime and bottom of the jar. Plate XCV. From a painted china Vase. Yet another compo-sition on the fragmentary principle. Plate XCVI. From a painted china Bottle. A singular com-position remarkable for the way in which the effectof the sturdy colour of the ornament is softened bythe judicious treatment of the ground. Plate XCVII. From a painted china Bottle. Composition onthe continuous-stem principle. The ornament inthis instance is in slight relief. The vase was castin a mould. Plate XCVIII. Inlaid bronze Dish. Composition on Plate XCIX. From a painted china Bottle,the continuous-stem principle. Plate C. From a painted china Vase. This example canhardly be named ornament: it is conventionalonly in the way in which the leaves and fruit arebalanced.
Text Appearing Soon after Image:
Ornament from an Indian Lacquer Box. 15 u.
Note About Images
Please note that these pictures are extracted from scanned web page photos that may have been digitally enhanced for readability – coloration and appearance of these illustrations may not completely resemble the original operate.
Image from page 520 of “The industries of Japan : with each other with an account of its agriculture, forestry, arts, and commerce. From travels and researches undertaken at the cost of the Prussian government” (1889)
Image by World wide web Archive Book Images
Title: The industries of Japan : collectively with an account of its agriculture, forestry, arts, and commerce. From travels and researches undertaken at the cost of the Prussian government
Year: 1889 (1880s)
Authors: Rein, J. J. (Johannes Justus), 1835-1918 Rein, J. J. (Johannes Justus), 1835-1918. Japan nach Reisen und Studien. V. 2. Land- und Forstwirthschaft, Industrie und Handel. English Hodder and Stoughton, publisher
Subjects: Industries Agriculture Art, Japanese
Publisher: London : Hodder and Stoughton
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute
Click here to view book online to see this illustration in context in a browseable on the web version of this book.
Text Appearing Prior to Image:
ut in water withpaddles, and then left to rest for a quick time that the coarser andheavier particles may possibly settle to the bottom. The separation of thefine floating paste is effected by opening 1 or the other of thetap-holes, of which there are usually 4 placed irregularly oneabove the other. Finally, the complete pulpy mass is passed througha fine cloth sieve, which separates all the coarse grains and otherimpurities. Funnel-shaped boxes are employed in location of our filter presses.The walls are produced of staves. On the bottom is a layer of gravel1 Ein Ausfiug ins Armenische, Kolti. Zeitung, 21/two, 1886. CERAMICS. 465 or perfectly fine washed material with a straw mat laid more than it.When the pasty substance is poured in, the water filters partlythrough, although the clay paste is deposited steadily. The waterwhich collects upon it is drained off via a side opening, andthe material is dried in a red-hot furnace and ultimately worked upand kneaded with the feet and hands. When this is carried out, it is
Text Appearing Right after Image:
Fig. 19.—TEAPOT OF GREY-BROWN STONE-WARE : FROM KUWANA, IN ISE. left to ferment in a pit or damp chest, not for a year, as wasformerly the case in China, it is mentioned, but for a few weeks ormonths, before employing in the factory. By far the largest element of the clay-wares of Japan are shaped onthe Rokuro or potters wheel. The apparatus employed for this II. H H 466 ART Business AND Associated OCCUPATIONS. purpose is mostly of the simplest kind, the shaping board servingat the exact same time as the swinging-wheel. It has a hole near theedge in which a rod, 20 centimeters lengthy, is placed, by which it isset in motion. In a a lot more created state, as at Arita, for instance,the bigger wheel is bound firmly to the shaping board, some 20 to30 centimeters apart, by four rods, and is turned with the feet.Plaster of Paris moulds and castings of the material are as un-frequent as the employment of patterns and models. These areindeed striking wants, but the Japanese substitutes for them hisgreat skill in the ha
Note About Pictures
Please note that these images are extracted from scanned web page pictures that could have been digitally enhanced for readability – coloration and appearance of these illustrations may possibly not completely resemble the original perform.