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Very Old machine it is one of the effects of the English colonization of Egypt
Are currently in one of the old houses whos owned by one of the very poor Egyptians in a very very poor area.
The most IMPORTANT ISSUE is that no one knows its there and no one knows the value of this ...ARCHEOLOGICAL...MACHINE...
...UNTIL NOW !!!
...IMAGINE THAT ...?!?!?!
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Merci pour les vues, commentaires et favoris a tous !
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A World Economic Forum‑Water Resources Group meeting in Mongolia, co‑hosted by the Office of the President of Mongolia and the Water Resources Group in June 2011
A values voter at the Values Voter Summit in Washington, DC.
Please attribute to Gage Skidmore if used elsewhere.
In the news this week it was revealed that some supermarkets were selling the new Harry Potter for less than the wholesale price. So much so that some independant booksellers will be buying them from Tesco to sell in their shops.
They are going to rather disappointed when they see the new cover.
Need numismatic photography for your auctions, books, advertising or promotion? Check out our huge online gallery of numismatic images and get a quote today at HipShot photography
This 106 year old silver coin is attractive and reasonably priced at around $75.00 CDN. This coin is listed as AU-55; full detail with light friction on the highpoints. Considerable luster remains.
Reverse
The female effigy of Italy standing on a quadriga with a shield in her left hand and an olive branch in the right, with the date below the prancing legs of the horses. On the line of exergue is the name of the author at left and of the engraver at right, with the value is flanked by two knots with the mintmark on the left and the Star of Italy at the right in the exergue
Lettering:
1914
FERT
D·CALANDRA M· A·MOTTI INC·
R
L. 2
Translation:
1914
FERT
D·CALANDRA M· A·MOTTI INC·
R
2 Lira
Engraver: Attilio Silvio Motti
Obverse
Bust of King Vittorio Emanuele III facing right, with the name of the engraver below the neck
Lettering:
VITTORIO EMANUELE III RE D'ITALIA
D. CALANDRA
Translation:
Vittorio Emanuele III King of Italy
D. Calandra
Engraver: Davide Calandra
Edge
Smooth with inscription (the motto of the House of Savoy) between knots and stars
Lettering: FERT FERT FERT
Translation: HIS COURAGE SAVED RHODES (Fortitudo ejus Rhodum tenuit)
Mint
R
Rome, Italy
value on board. You are allowed to use this image on your website. If you do, please link back to my site as the source: creditscoregeek.com/
Example: Photo by Credit Score Geek
Thank you!
Mike Cohen
An exercise for practicing values or different shades of gray. This time the values are obtained by varying the pressure used in holding the pencils. Just two pencils are used (HB and 2B). The exercise is proposed by Brenda Hoddinott at www.drawspace.com.
Click here to learn more about Camp Click here to learn more about Camp Humphreys
U.S. Army photos by Anthony Langley
Ducks top Hoyas in Armed Forces Classic at Camp Humphreys
By Tim Hipps
U.S. Army Installation Management Command
CAMP HUMPHREYS, South Korea – In a season opener between teams led by newcomers, Joseph Young scored 24 points to lead No. 19 Oregon to an 82-75 victory over Georgetown in the 2013 Armed Forces Classic here.
The Ducks and Hoyas tipped off Nov. 9 at 10:16 a.m., on a Saturday morning in the Humphreys Community Fitness Center. For college basketball fans across America, the game was one of many season openers on Friday night. Only one, however, was played before 2,100 U.S. troops and their family members, along with a worldwide television audience on ESPN.
“We’re about to start the journey to determine who is the best team in college basketball, the best team in the country, and we’re doing it in front of the best team in the world,” ESPN announcer Jay Bilas said. “I’m in absolute awe of the commitment, the sacrifice, of our men and women in uniform.”
Young, a junior guard who transferred from Houston is a son of Michael Young, who played for the high-flying “Phi Slama Jama” teams of the early 1980’s. He grabbed five rebounds and was perfect on 12 free throws in his first game as a Duck.
Joshua Smith, a 6-foot-10, 350-pound junior center who transferred from UCLA, led Georgetown (0-1) with 25 points on 10-of-13 shooting and 5 of 9 free throws before fouling out of his first game as a Hoya with 9 seconds remaining.
Jason Calliste made all 11 of his free throws and scored 16 points for Oregon (1-0). Mike Moser added 15 points, seven rebounds and a career-high six steals, the most by an Oregon player in 15 seasons. Darius Wright was the last Duck to post six steals in a game against USC on Jan. 7, 1999.
“We came a long way, so we really didn’t want to lose this one,” Moser said. “It definitely feels good to go home – a 12-hour ride – with a win.”
Damyean Dotson grabbed eight rebounds and Johnathan Loyd had seven assists for Oregon. Loyd recorded his 304th career assist for a spot on the Ducks’ top 10 list.
The Hoyas shot 1 of 15 from 3-point range, failed to find much offensive continuity, and were outrebounded, 40-32.
“Things we can control, we have to control,” Georgetown coach John Thompson III said. “We had too many untimely unforced turnovers. We got our rhythm offensively, but we gave up a lot of threes in a row – it felt like four or five. The timing of that is what we have to learn. When we had to get a stop or a rebound, we didn’t.”
Oregon took an 18-7 lead via a 12-2 run, capped by two free throws by Calliste with 12:27 remaining in the first half. Calliste also converted a three-point play that gave the Ducks a 30-23 lead with 5:25 remaining in the period. Oregon led, 37-34, at halftime.
Georgetown took its first lead since 2-0 on a steal by Markel Starks and Smith’s feed to Jabril Trawick for a layup and a 40-39 lead with 18:06 left. D’Vauntes Smith-Rivera’s jumper put Georgetown ahead, 42-39. Loyd responded with a 3-pointer, Young followed with a layup, and the Ducks led the rest of the way.
Starks finished with 16 points and four assists for Georgetown. Trawick added 11 points and three rebounds. Before departing, Moser saluted the troops who welcomed the Ducks to Camp Humphreys, their most distant regular-season game site in school history.
“We had a lot of fun,” Moser said. “Getting a chance to hang out with the troops for a couple days inspired us to try and come out here and win this game.”
Played on Veterans Day weekend, the game featured a military theme throughout. Rather than players’ last names, Army values, such as “Courage,” “Integrity” and “Respect,” adorned the back of Georgetown’s camouflage-patterned jerseys. The backs of the Ducks’ camouflage-patterned jerseys displayed: “USA.” Members of both coaching staffs wore military-style cargo pants and combat boots.
“This was an unbelievable experience,” Thompson said. “It was a privilege to play in this environment, and it was a privilege to play in front of the Soldiers. One of the most rewarding times was serving lunch yesterday and getting the chance to interact with the young men and women stationed here at Camp Humphreys.”
Georgetown players Nate Lubick and Starks also were appreciative.
“This was a great opportunity to get a close-up look at what life is like for the men and women who protect our country,” Lubick said. “We’re very fortunate to have the opportunity to come here and play a game to thank them for all they do.”
“We’re blessed to have the chance to come here and see and tour the base and the helicopters,” Starks added. “It’s amazing all that they do and we’re really thankful to get the chance to meet everyone here.”
Folks at Camp Humphreys thought likewise.
“It’s such a blessing,” said Cassie Gaudette, wife of Army Capt. Brian Gaudette. “I don’t think that they can truly understand how exciting and wonderful it is to have a little piece of home and have the teams come here to South Korea. We’re originally from Eugene [home of the Oregon Ducks], so this was really exciting to see.”
Oregon played without sophomores Dominic Artis and Ben Carter, who were suspended nine games for violating NCAA rules by selling school-issued athletic apparel. If only they knew what they missed.
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
+++ DISCLAIMER +++Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Gudkov Gu-1 was a Soviet fighter aircraft produced shortly after World War II in small numbers at the start of the jet age, but work on the Gudkov Gu-1 already started in 1944. Towards the end of World War II the Soviet Union saw the need for a strategic bombing capability similar to that of the United States Army Air Forces. The Soviet VVS air arm had the locally designed Petlyakov Pe-8 four-engined heavy bomber in service at the start of the war, but only 93 had been built by the end of the war and the type had become obsolete. By that time the U.S. regularly conducted bombing raids on Japan from distant Pacific forward bases using B-29 Superfortresses, and the Soviet Air Force lacked this capability.
Joseph Stalin ordered the development of a comparable bomber, and the U.S. twice refused to supply the Soviet Union with B-29s under Lend Lease. However, on four occasions during 1944, individual B-29s made emergency landings in Soviet territory and one crashed after the crew bailed out. In accordance with the Soviet–Japanese Neutrality Pact, the Soviets were neutral in the Pacific War and the bombers were therefore interned and kept by the Soviets. Despite Soviet neutrality, America demanded the return of the bombers, but the Soviets refused. Three repairable B-29s were flown to Moscow and delivered to the Tupolev OKB. One B-29 was dismantled, the second was used for flight tests and training, and the third one was left as a standard for cross-reference.
Stalin told Tupolev to clone the Superfortress in as short a time as possible. The reverse-engineering effort involved 900 factories and research institutes, who finished the design work during the first year. 105,000 drawings were made, and the American technology had to be adapted to local material and manufacturing standards – and ended in a thorough re-design of the B-29 “under the hood”. By the end of the second year, the Soviet industry was to produce 20 copies of the aircraft ready for State acceptance trials.
While work on what would become the Tupolev Tu-4 was on the way, the need for a long range escort fighter arose, too. Soviet officials were keen on the P-51 Mustang, but, again, the USA denied deliveries, so that an indigenous solution had to be developed. With the rising tension of international relationships, this became eventually the preferred solution, too.
While the design bureau Lavochkin had already started with work on the La-9 fighter (which entered service after WWII) and the jet age was about to begin, the task of designing a long range escort fighter for the Tu-4 was relegated to Mikhail I. Gudkov who had been designing early WWII fighters like the LaGG-1 and -3 together with Lavochkin. Internally, the new fighter received the project handle "DIS" (Dalnij Istrebitel' Soprovozhdenya ="long-range escort fighter").
In order to offer an appropriate range and performance that could engage enemy interceptors in the bombers’ target area it was soon clear that neither a pure jet nor a pure piston-engine fighter was a viable solution – a dilemma the USAAF was trying to solve towards 1945, too. The jet engine alone did not offer sufficient power, and fuel consumption was high, so that the necessary range could never be achieved with an agile fighter. Late war radials had sufficient power and offered good range, but the Soviet designers were certain that the piston engine fighter had no future – especially when fast jet fighters had to be expected over enemy territory.
Another problem arose through the fact that the Soviet Union did not have an indigenous jet engine at hand at all in late 1945. War booty from Germany in the form of Junkers Jumo 004 axial jet engines and blueprints of the more powerful HeS 011 were still under evaluation, and these powerplants alone did neither promise enough range nor power for a long range fighter aircraft. Even for short range fighters their performance was rather limited – even though fighters like the Yak-15 and the MiG-9 were designed around them.
After many layout experiments and calculation, Gudkov eventually came up with a mixed powerplant solution for the DIS project. But unlike the contemporary, relatively light I-250 (also known as MiG-13) interceptor, which added a mechanical compressor with a primitive afterburner (called VRDK) to a Klimov VK-107R inline piston engine, the DIS fighter was equipped with a powerful radial engine and carried a jet booster – similar to the US Navy’s Ryan FR-1 “Fireball”. Unlike the FR-1, though, the DIS kept a conservative tail-sitter layout and was a much bigger aircraft.
The choice for the main powerplant fell on the Shvetsov ASh-82TKF engine, driving a large four blade propeller. This was a boosted version of the same 18 cylinder twin row radial that powered the Tu-4, the ASh-73. The ASh-82TKF for the escort fighter project had a rating of 2,720 hp (2,030 kW) while the Tu-4's ASh-73TK had "only" a temporary 2,400 hp (1,800 kW) output during take-off. The airframe was designed around this massive and powerful engine, and the aircraft’s sheer size was also a result of the large fuel capacity which was necessary to meet the range target of at least 3.000 km (1.860 mi, 1.612 nmi).
The ASh-82TKF alone offered enough power for a decent performance, but in order to take on enemy jet fighters and lighter, more agile propeller-driven fighters, a single RD-20 axial-flow turbojet with 7.8 kN (1,754 lbf) thrust was added in the rear-fuselage. It was to add power for take-off and in combat situations only. Its fixed air intakes were placed on the fuselage flanks, right behind the cockpit, and the jet pipe was placed under the fin and the stabilizers.
Outwardly, Gudkov’s DIS resembled the late American P-47D or the A-1 Skyraider a lot, and the beefy aircraft was comparable in size and weight, too. But the Soviet all-metal aircraft was a completely new construction and featured relatively small and slender laminar flow wings. The wide-track landing gear retracted inwards into the inner wings while the tail wheel retracted fully into a shallow compartment under the jet pipe.
The pilot sat in a spacious cockpit under a frameless bubble canopy with very good all-round visibility and enjoyed amenities for long flights such as increased padding in the seat, armrests, and even a urinal. In addition, a full radio navigation suite was installed for the expected long range duties over long stretches of featureless landscape like the open sea.
Armament consisted of four 23 mm Nudelman-Suranov NS-23 cannons with 100 RPG in the wings, outside of the propeller arc. The guns were good for a weight of fire of 6kg (13.2 lb)/sec, a very good value. Five wet hardpoints under the fuselage, the wings outside of the landing gear well and under the wing tips could primarily carry auxiliary drop tanks or an external ordnance of up to 1.500 kg (3.300 lb).
Alternatively, iron bombs of up to 500 kg (1.100 lb) caliber could be carried on the centerline pylon, and a pair of 250 kg (550 lb) bombs under the wings, but a fighter bomber role was never seriously considered for the highly specialized and complex aircraft.
The first DIS prototype, still without the jet booster, flew in May 1947. The second prototype, with both engines installed, had its fuel capacity increased by an additional 275 l (73 US gal) in an additional fuel tank behind the cockpit. The aircraft was also fitted with larger tires to accommodate the increased all-up weight, esp. with all five 300 l drop tanks fitted for maximum range and endurance.
Flight testing continued until 1948 and the DIS concept proved to be satisfactory, even though the complicated ASh-82TKF hampered the DIS’ reliability - to the point that fitting the ASh-73TK from the Tu-4 was considered for serial production, even if this would have meant a significant reduction in performance. The RD-20 caused lots of trouble, too. Engine reliability was generally poor, and re-starting the engine in flight did not work satisfactorily – a problem that, despite several changes to the starter and ignition system, could never be fully cured. The jet engine’s placement in the tail, together with the small tail wheel, also caused problems because the pilots had to take care that the tail would not aggressively hit the ground upon landings, because the RD-20 and its attachments were easily damaged.
Nevertheless, the DIS basically fulfilled the requested performance specifications and was, despite many shortcomings, eventually cleared for production in mid 1948. It received the official designation Gudkov Gu-1, honoring the engineer behind the aircraft, even though the aircraft was produced by Lavochkin.
The first machines were delivered to VVS units in early 1949 - just in time for the Tu-4's service introduction after the Russians had toiled endlessly on solving several technical problems. In the meantime, jet fighter development had quickly progressed, even though a purely jet-powered escort fighter for the Tu-4 was still out of question. Since the Gu-1 was capricious, complex and expensive to produce, only a limited number left the factories and emphasis was put on the much simpler and more economical Lavochkin La-11 escort fighter, a lightweight evolution of the proven La-9. Both types were regarded as an interim solution until a pure jet escort fighter would be ready for service.
Operationally the Gu-1s remained closely allocated to the VVS’ bomber squadrons and became an integral part of them. Anyway, since the Tu-4 bomber never faced a serious combat situation, so did the Gu-1, which was to guard it on its missions. For instance, both types were not directly involved in the Korean War, and the Gu-1 was primarily concentrated at the NATO borders to Western Europe, since bomber attacks in this theatre would certainly need the heavy fighter’s protection.
The advent of the MiG-15 - especially the improved MiG-15bis with additional fuel capacities and drop tanks, quickly sounded the death knell for the Gu-1 and any other post-WWII piston-engine fighter in Soviet Service. As Tu-4 production ended in the Soviet Union in 1952, so did the Gu-1’s production after only about 150 aircraft. The Tu-4s and their escort fighters were withdrawn in the 1960s, being replaced by more advanced aircraft including the Tupolev Tu-16 jet bomber (starting in 1954) and the Tupolev Tu-95 turboprop bomber (starting in 1956).
The Gudkov Gu-1, receiving the NATO ASCC code “Flout”, remained a pure fighter. Even though it was not a success, some proposals for updates were made - but never carried out. These included pods with unguided S-5 air-to-air-rockets, to be carried on the wing hardpoints, bigger, non-droppable wing tip tanks for even more range or, alternatively, the addition of two pulsejet boosters on the wing tips.
There even was a highly modified mixed powerplant version on the drawing boards in 1952, the Gu-1M. Its standard radial powerplant for cruise flight was enhanced with a new, non-afterburning Mikulin AM-5 axial flow jet engine with 2.270 kgf/5,000 lbf/23 kN additional thrust in the rear fuselage. With this temporary booster, a top speed of up to 850 km/h was expected. But to no avail - the pure jet fighter promised a far better performance and effectiveness, and the Gu-1 remained the only aircraft to exclusively carry the Gudkov name.
General characteristics:
Crew: 1
Length: 12 m (39 ft 4 in)
Wingspan: 14 m (45 ft 11 in)
Height: 4.65 m (15 ft 3 in)
Wing area: 28 m² (301.388 ft²)
Airfoil:
Empty weight: 4,637 kg (10,337 lb)
Loaded weight: 6.450 kg (14.220 lb)
Maximum take-off weight: 7,938 kg (17,500 lb)
Powerplant:
1× Shvetsov ASh-82TKF 18-cylinder air-cooled radial engine, rated at 2,720 hp (2,030 kW)
1x RD-20 axial-flow turbojet with 7.8 kN (1,754 lbf) thrust as temporary booster
Performance
Maximum speed: 676 km/h (420 mph) at 29,000 ft (8,839 m) with the radial only,
800 km/h (497 mph/432 kn,) with additional jet booster
Cruise speed: 440 km/h (237 kn, 273 mph)
Combat radius: 820 nmi (945 mi, 1,520 km)
Maximum range: 3.000 km (1.860 mi, 1.612 nmi) with drop tanks
Service ceiling: 14,680 m (48,170 ft)
Wing loading: 230.4 kg/m² (47.2 lb/ft²)
Power/mass: 0.28 kW/kg (0.17 hp/lb)
Climb to 5,000 m (16,400 ft): 5 min 9 sec;
Climb to 10,000 m (32,800 ft): 17 min 38 sec;
Climb to 13,000 m (42,640 ft): 21 min 03 sec
Armament
4× 23 mm Nudelman-Suranov NS-23 cannons with 100 RPG in the outer wings
Five hardpoints for an external ordnance of 1.500 kg (3.300 lb)
The kit and its assembly:
This whif is the incarnation of a very effective kitbashing combo that already spawned my fictional Japanese Ki-104 fighter, and it is another submission to the 2018 “Cold War” group build at whatifmodelers.com. This purely fictional Soviet escort fighter makes use of my experiences from the first build of this kind, yet with some differences.
The kit is a bashing of various parts and pieces:
· Fuselage, wing roots, landing gear and propeller from an Academy P-47D
· Wings from an Ark Model Supermarine Attacker (ex Novo)
· Tail fin comes from a Heller F-84G
· The stabilizers were taken from an Airfix Ki-46
· Cowling from a Matchbox F6F, mounted and blended onto the P-47 front
· Jet exhaust is the intake of a Matchbox Me 262 engine pod
My choice fell onto the Academy Thunderbolt because it has engraved panel lines, offers the bubble canopy as well as good fit, detail and solid material. The belly duct had simply been sliced off, and the opening later faired over with styrene sheet and putty, so that the P-47’s deep belly would not disappear.
The F6F cowling was chosen because it looks a lot like the ASh-73TK from the Tu-4. But this came at a price: the P-47 cowling is higher, tighter and has a totally different shape. It took serious body sculpting with putty to blend the parts into each other. Inside of the engine, a styrene tube was added for a metal axis that holds the uncuffed OOB P-47 four blade propeller. The P-47’s OOB cockpit tub was retained, too, just the seat received scratched armrests for a more luxurious look.
The Attacker wings were chosen because of their "modern" laminar profile. The Novo kit itself is horrible and primitive, but acceptable for donations. OOB, the Attacker wings had too little span for the big P-47, so I decided to mount the Thunderbolt's OOB wings and cut them at a suitable point: maybe 0.5", just outside of the large main wheel wells. The intersection with the Attacker wings is almost perfect in depth and width, relatively little putty work was necessary in order to blend the parts into each other. I just had to cut out new landing gear wells from the lower halves of the Attacker wings, and with new attachment points the P-47’s complete OOB landing gear could be used.
With the new wing shape, the tail surfaces had to be changed accordingly. The trapezoid stabilizers come from an Airfix Mitsubishi Ki-46, and their shape is a good match. The P-47 fin had to go, since I wanted something bigger and a different silhouette. The fuselage below was modified with a jet exhaust, too. I actually found a leftover F-84G (Heller) tail, complete with the jet pipe and the benefit that it has plausible attachment points for the stabilizers far above the jet engine in the Gu-1’s tail.
However, the F-84 jet pipe’s diameter turned out to be too large, so I went for a smaller but practical alternative, a Junkers Jumo 004 nacelle from a Me 262 (the ancestor of the Soviet RD-20!). Its intake section was cut off, flipped upside down, the fin was glued on top of it and then the new tail was glued to the P-47 fuselage. Some (more serious) body sculpting was necessary to create a more or less harmonious transition between the parts, but it worked.
The plausible placement of the air intakes and their shape was a bit of a challenge. I wanted them to be obvious, but still keep an aerodynamic look. An initial idea had been to keep the P-47’s deep belly and widen the central oil cooler intake under the nose, but I found the idea wacky and a bit pointless, since such a long air duct would not make much sense since it would waste internal space and the long duct’s additional weight would not offer any benefit?
Another idea were air intakes in the wing roots, but these were also turned down since the landing gear wells would be in the way, and placing the ducts above or below the wings would also make no sense. A single ventral scoop (looking like a P-51 radiator bath) or two smaller, dorsal intakes (XP-81 style) behind the cockpit were other serious candidates – but these were both rejected because I wanted to keep a clean side profile.
I eventually settled for very simple, fixed side intakes, level with the jet exhaust, somewhat inspired by the Lavochkin La-200B heavy fighter prototype. The air scoops are simply parts from an Italeri Saab 39 Gripen centerline drop tank (which has a flat, oval diameter), and their shape is IMHO a perfect match.
Painting and markings:
While the model itself is a wild mix of parts with lots of improvisation involved, I wanted to keep the livery rather simple. The most plausible choice would have been an NMF finish, but I rather wanted some paint – so I used Soviet La-9 and -11 as a benchmark and settled for a simple two-tone livery: uniform light grey upper and light blue lower surfaces.
I used RAF Medium Sea Grey (Humbrol 165) and Soviet Underside Blue (Humbrol 114) as basic tones, and, after a black ink wash, these were lightened up through dry-brushed post-shading. The yellow spinner and fin tip are based on typical (subtle) squadron markings of the late 40ies era.
The cockpit as well the engine and landing gear interior became blue-grey (Revell 57), similar to the typical La-9/11’s colors. The green wheel discs and the deep blue propeller blades are not 100% in the aircraft's time frame, but I added these details in order to enhance the Soviet touch and some color accents.
Tactical markings were kept simple, too. The "38" and the Red Stars come form a Mastercraft MiG-15, the Guards badge from a Begemoth MiG-25 sheet and most of the stencils were taken from a Yak-38 sheet, also from Begemoth.
Finally, the kit was sealed with matt acrylic varnish (Italeri) and it received some mild soot stains and chipped paint around the cockpit and on the leading edges. Some oil stains were added around the engine (with Tamiya Smoke), too.
A massive aircraft, and this new use of the P-47/Attacker combo results again in a plausible solution. The added jet engine might appear a bit exotic, but the mixed powerplant concept was en vogue after WWII, but only a few aircraft made it beyond the prototype stage.
While painting the model I also wondered if an all dark blue livery and some USN markings could also have made this creation the Grumman JetCat? With the tall fin, the Gu-1 could also be an F8F Bearcat on steroids? Hmmm...
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