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Es handelt sich um eine sog. Unteranschlagmaschine, bei der der geschriebene Text nicht sofort sichtbar ist. Um das Geschriebene lesen zu können, muss die Schreibwalze mit dem großen rechten Hebel nach oben geklappt werden. Für die Großbuchstaben wird der kleine Hebel am Grundgestell vorne links nach oben gstellt.
Diese Schreibmaschine ist das 7. Modell der Firma, die 1874 den Erfindern Sholes und Glidden die Fabrikation der ersten Schreibmaschinen "The Type Writer" ermöglichte. Seit 1877 (ab Modell 2) wurden die Maschinen unter dem Namen REMINGTON hergestellt und weltweit vermarktet und vertrieben. Diese Maschine war wegen ihrer Leichtigkeit, Robustheit und Störunanfälligkeit gegenüber anderen Maschinen berühmt und wurde deshalb bis 1914 gebaut.
Ident-Nr.: Fabriknr.: 184314
Martin, Ernst. Die Schreibmaschine und ihre Entwicklungsgeschichte. Aachen, Germany: Peter Basten, 1949
Man-made object
Objektmaß LxBxH: 395 x 400 x 290 mm; Masse: 13 kg
Stiftung Deutsches Technikmuseum Berlin
Metadata: CC0 @ Deutsches Technikmuseum
The detailed rendering of this tranquil scene is characteristic of Hart's early work, when he was most deeply influenced by the Hudson River school of landscape painting.
Born in Scotland, Hart began his career as a coach decorator. In 1850, he traveled to Germany's major art centers--Munich and Düsseldorf--where he completed his training as an artist. From 1857 until his death, Hart was based in New York City.
H: 21 1/8 x W: 35 1/4 in. (53.7 x 89.5 cm)
H with frame: 34 1/4 x W: 48 1/4 x D: 5 in. (87 x 122.6 x 12.7 cm)
medium: oil on canvas
by bequest to Walters Art Museum, 1931.
In This the first thing i notice is the black gun on the orange background, its very bold and eye catching. Then i noticed the eye next to the gun, forming a face. the title of the film is dirty harry so that suggest in may be a grutty film with gun use. I then notices on the corners and certain places theres what appears to look like scuff marks making me think it may be an old film.
Alexander H. Wyant
1836–1892
34 3/4 x 53 3/4 in. (88.3 x 136.5 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 13.53 1913
Gift of Mrs. George E. Schanck, in memory of her brother, Arthur Hoppock Hearn, 1913
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This large marble head, possibly from an over-life-sized sculpture of Hercules, was excavated near the Florence baptistery and adapted and partly recarved to fit a medieval sculpture. Differences in the drill marks on the beard and the hair (those in the hair are finer and deeper than those in the beard) indicate that the head was probably modified in the Middle Ages. Many of the sculpted figures that once adorned the facade of the Duomo in Florence were completed with adaptations of ancient heads. The nose and left ear of this head are modern.
Medieval European
H: 18 3/16 × D: 16 5/16 in. (46.23 × 41.4 cm)
medium: marble
style: Romanesque
culture: Medieval European
Walters Art Museum, June 9, 1949, by purchase.
Jacques Guay carved cameo portraits of Queen Marie Antoinette, though it is not known whether he is the author of this one. The carver took advantage of the natural striations of color in the stone to differentiate between the two figures: the queen and her son, the dauphin (1785–95), who would have become Louis XVII, but for the French Revolution. Such a ring might have been worn by a courtier or, after the Revolution, by a royalist sympathizer. The cameo is surrounded by a border of diamond sparks in silver mounts. The forked shoulders each enclose a tulip originally set with a crystal.
H: 3/4 × W: 13/16 × D: 13/16 in. (1.9 × 2 × 2.1 cm)
medium: sardonyx, gold, silver, diamonds
given to Walters Art Museum, 1947.
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