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I got my material out to make a new knitting bag. So glad I found this appropriate material. All ironed and ready to go.
Projects to work on while staying home.
On this the material shows well, as of course does my face but sorry about that. I was just trying the dress on really, I think it deserves to ne show properly outside so when the wearther gets better sometime I wlll do that.
Here are some more images from this morning's observations of the activity. Nesting material being brought in, feasting on breakfast, and repositioning on a branch.
Material Circulante: CPA 4009
Hora: 18:42
Data: 16-03-2017
Local: Estação do Entroncamento (PK 106 - Linha do Norte)
Obs: Primeira aparição em público de um CPA renovado.
William Stone Images - Limited Edition Fine Art Prints
Fine Art Photography Prints & Luxury Wall Art:
Our presence on flickr is to showcase our catalogue, we have selected pictures on our website, but can always add more depending on the requests we receive:
We do wedding photography and videography:
We do once in a while have discounted luxury fine art, please do keep checking:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Any image seen on flickr can be printed in museum grade quality, use the unique reference at the bottom of the photo description when contacting us:
We do plan future trips and do catalogue our past ones:
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
We celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied and multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general.
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We do cloud/website development and hosting, startng from £1,500 we can design and host your website. Do justice to your photographs/videos and host them where they will be much valued by your clients. The quality will be in line with www.wsimages.com but designed by you and implemented by us. Contact us today.
WS-93-44368454-151317135-0766207-342023154400
Material Circulante: UTD 592.227
Hora: 10:43
Data: 08-05-2017
Local: Silva (PK 53 - Linha do Minho)
Serviço: IR 852 (Valença --» Porto - Campanhã)
Johanna Constantine (Future Feminism)
Webster Hall
New York City
September 7th, 2014
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Model: Rossella
Photo: Gaetano Quattrocchi
Fb. Page: GaetanoQ Fotografia
------------------------------------------
© TUTTI I DIRITTI RISERVATI ©
Tutto il materiale presente nella galleria NON PUO' essere riprodotto, copiato, modificato, ritagliato ecc. senza ESPRESSA autorizzazione da parte dell'autore degli scatti (Gaetano Quattrocchi).
Per qualsiasi informazione o concessione: gaetano.quattrocchi.89@gmail.com
ALL RIGHT RESERVED© All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
Material Circulante: CP E214 + CEyf 4169 + CEyf 4178 + CEyf 466 + Napoli
Hora: 09:37
Data: 23-02-2020
Local: Eixo (PK 26 - Linha do Vouga)
Serviço: Comboio Especial n.º 20801 (Aveiro - Vouga --» Macinhata) [Comboios Históricos na Linha do Vouga]
Materials: oil on canvas. Dimensions: 91.5 x 136 cm. Inscriptions: P Mônsted. / Herstedvester. 1923-24. Source: www.comgun.ru/uploads/posts/2014-04/1397036519_10.jpg. I have changed the light, contrast and colors of the original photo.
Plaza Mayor, Almagro, Ciudad Real, Castilla-La Mancha, España.
La plaza medieval sufrió una notable transformación a lo largo del siglo XVI, coincidiendo con la llegada a Almagro de los Fúcar - castellanización del apellido flamenco Fugger -, banqueros súbditos del emperador Carlos V, a quienes se les había arrendado las minas de azogue de Almadén como privilegio por el apoyo económico de la banca familiar durante las guerras de Europa. Se levantaron nuevos edificios en la plaza y se debe a ellos la influencia de las galerías acristaladas, con recuerdos septentrionales, que ennoblecen y dan un aspecto singular a los dos lados mayores de esta Plaza Mayor de Almagro, denominación con la que tradicionalmente se le ha conocido, aunque en distintos momentos haya recibido otros nombre como de la Constitución, de la República, Real o de España, tras la última Guerra Civil. En la década de 1960 se comenzó su restauración que concluyó en 1967, tal como figura en una placa colocada en el edificio del Ayuntamiento. La obra, dirigida por el arquitecto Francisco Pons-Sorolla, devolvió al singular conjunto la nobleza y el esplendor del siglo XVI.
De planta rectangular irregular, uno de sus lados mayores se abre en la parte correspondiente al Palacio Maestral, y según planos antiguos tiene 125 varas de longitud por 44 de anchura, es decir, 104,5 por 37 metros, aproximadamente.
La mayor singularidad de esta plaza se centra en sus lados mayores, donde se levanta un armónico conjunto de viviendas que se disponen sobre soportales en dos alturas, sostenidas por ochenta y cinco columnas de piedra de orden toscano, sobre las que descansan las gruesas zapatas y vigas de madera pintadas de almagre. Estas edificaciones de modestos materiales tienen su mayor originalidad en el doble piso de galería acristalada, que proporciona un característico sabor y notable originalidad al conjunto por tratarse de un caso singular de la arquitectura castellana. Estas galerías estuvieron inicialmente abiertas, eran de carácter público y se utilizaban para presenciar los espectáculos que tenían lugar en la plaza. Posteriormente, fueron cerradas. Sus ventanas balconcillos, al igual que los barrotes torneados, debieron de estar pintados de almagre, pero posteriormente, con motivo de la proclamación del rey Carlos IV en 1788, se pintaron de verde turquesa . Sobre las galerías, sencillos canecillos soportan el alero, y en el tejado, cubierto con teja árabe se levantan buhardillas encaladas, blancas chimeneas y algunas veletas de hierro.
En el lado norte de la plaza, a la derecha desde el Ayuntamiento, se abre el callejón del Villar, donde puede observarse la estructura de la construcción de las viviendas, además de otros elementos, como una columna con capitel tallado en el que figura una jarra con azucenas. En el lado sur se localiza la antigua calle del Toril, hoy del Capitán Parras, en recuerdo de un hijo de este pueblo que murió en 1924, durante la Guerra de África. En esta calle se encuentra la casa de Diego de Molina el Viejo. El soportal y las galerías acristaladas se truncan con dos grandes columnas de granito que sostienen zapatas y una poderosa viga con escudos familiares. La portada enmarcada de piedra, de finales del siglo XVI, presenta un escudo con las armas de Molina, Dávila y Fajardo. Otras edificaciones mantienen algún tipo de interés, como dos casas con dinteles de piedra o la casa de los Rosales, con fachada de fines del siglo XVII.
The medieval square underwent a significant transformation throughout the 16th century, coinciding with the arrival in Almagro of the Fúcars - the Spanish version of the Flemish surname Fugger -, bankers subject to the Emperor Charles V, to whom the Almadén mercury mines had been leased as a privilege for the financial support of the family bank during the wars in Europe. New buildings were built in the square and it is to them that the glass galleries, with northern reminders, which ennoble and give a unique appearance to the two largest sides of this Plaza Mayor de Almagro, the name by which it has traditionally been known, began to be restored, such as the Constitution, the Republic, the Royal or Spain, after the last Civil War. In the 1960s, its restoration began and was completed in 1967, as shown on a plaque placed on the Town Hall building. The work, directed by the architect Francisco Pons-Sorolla, restored the nobility and splendour of the 16th century to the unique complex.
With an irregular rectangular floor plan, one of its larger sides opens onto the part corresponding to the Maestral Palace, and according to old plans it is 125 yards long by 44 wide, that is, approximately 104.5 by 37 metres.
The greatest uniqueness of this square is centred on its larger sides, where a harmonious group of houses is built, arranged on arcades on two levels, supported by eighty-five Tuscan stone columns, on which rest the thick wooden foundations and beams painted in red ochre. These buildings made of modest materials have their greatest originality in the double-storey glass gallery, which provides a characteristic flavour and notable originality to the complex, as it is a unique case of Castilian architecture. These galleries were initially open, were public and were used to watch the shows that took place in the square. Later, they were closed. Their small balconies, like the turned bars, must have been painted red ochre, but later, on the occasion of the proclamation of King Charles IV in 1788, they were painted turquoise green. Above the galleries, simple corbels support the eaves, and on the roof, covered with Arabic tiles, there are whitewashed dormers, white chimneys and some iron weather vanes.
On the north side of the square, to the right of the Town Hall, is the Villar alley, where you can see the structure of the construction of the houses, as well as other elements, such as a column with a carved capital depicting a jar with lilies. On the south side is the old Toril street, today called Captain Parras, in memory of a son of this town who died in 1924, during the African War. On this street is the house of Diego de Molina el Viejo. The arcade and the glass galleries are truncated by two large granite columns that support footings and a powerful beam with family shields. The stone-framed doorway, from the end of the 16th century, features a shield with the arms of Molina, Dávila and Fajardo. Other buildings maintain some kind of interest, such as two houses with stone lintels or the Rosales house, with a façade from the end of the 17th century.
Materials: oil on canvas. Dimensions: 67.9 x 91.3 cm. Inscriptions: CHURCH 1854 (lower left). Nr. 2014.79.11.
Materials: oil on canvas. Dimensions: 36 x 60 cm. Inscriptions: F del Campo/1898 (lower left). Sold by Sotheby’s, in London, on December 16, 2015. Source: 1.bp.blogspot.com/-tE-G7f7QI-g/Xd7qNmEuGHI/AAAAAAAGhk0/xl.... I have changed the light and contrast of the original photo.
Materials: oil on canvas. Dimensions: 90.3 x 150.3 cm. Source: scontent.fotp7-2.fna.fbcdn.net/v/t1.6435-9/208491944_2683....
MTPO is a very soft material that LEGO uses for parts that need to bend sharply without being damaged. I wasn’t able to find much information on this material, but it seems it’s a variant of TPO, a category of thermoplastics blended with elastomers.
Material Circulante: Takargo 6001 + Captrain 5002 + 2 Lfgss (Transfesa) + 3 Laagrss (Captrain) + 5 Lgnss (Captrain) + 9 Sggmrss (VTG)
Hora: 08:41
Data: 20-08-2019
Local: Trajinha (PK 192 - Linha da Beira Alta)
Serviço: Comboio Internacional n.º 41808 (Fuentes de Onõro --» Entroncamento)
At MacDonald Park on the Sumas Prairie the Great Blue Herons have formed a nesting colony. In a very short period of time, I watched several Great Blue Heron fly down to the river's edge to gather twigs for their nests.
ALL RIGHT RESERVED
All material in my gallery CANNOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission
Ace Material Placing Telebelt TB 110 concrete conveyor truck at the Putzmeister facility in Sturtevant, Wisconsin.
“Geschenkverpackungsmaterial.“
Auswahlfoto:
Für“Smile on Saturday“
Thema:“Gift Wrapping Material“!!!
😄Happy Smile on Saturday😄for all of stay healthy.
Thanks for views,faves and comments:-)
The de Havilland DH.98 Mosquito was a British multi-role combat aircraft with a two-man crew that served during and after the Second World War. It was one of few operational front-line aircraft of the era constructed almost entirely of wood and was nicknamed "The Wooden Wonder". The Mosquito was also known affectionately as the "Mossie" to its crews. Originally conceived as an unarmed fast bomber, the Mosquito was adapted to roles including low to medium-altitude daytime tactical bomber, high-altitude night bomber, pathfinder, day or night fighter, fighter-bomber, intruder, maritime strike aircraft, and fast photo-reconnaissance aircraft. It was also used by the British Overseas Airways Corporation (BOAC) as a fast transport to carry small high-value cargoes to, and from, neutral countries, through enemy-controlled airspace.
When the Mosquito began production in 1941, it was one of the fastest operational aircraft in the world. Entering widespread service in 1942, the Mosquito was a high-speed, high-altitude photo-reconnaissance aircraft, continuing in this role throughout the war. From mid-1942 to mid-1943 Mosquito bombers flew high-speed, medium or low-altitude missions against factories, railways and other pinpoint targets in Germany and German-occupied Europe. From late 1943, Mosquito bombers were formed into the Light Night Strike Force and used as pathfinders for RAF Bomber Command's heavy-bomber raids. They were also used as "nuisance" bombers, often dropping Blockbuster bombs - 4,000 lb (1,812 kg) "cookies" - in high-altitude, high-speed raids that German night fighters were almost powerless to intercept.
As a night fighter, from mid-1942, the Mosquito intercepted Luftwaffe raids on the United Kingdom, notably defeating Operation Steinbock in 1944. Starting in July 1942, Mosquito night-fighter units raided Luftwaffe airfields. As part of 100 Group, it was a night fighter and intruder supporting RAF Bomber Command's heavy bombers and reduced bomber losses during 1944 and 1945. As a fighter-bomber in the Second Tactical Air Force, the Mosquito took part in "special raids", such as the attack on Amiens Prison in early 1944, and in precision attacks against Gestapo or German intelligence and security forces. Second Tactical Air Force Mosquitos supported the British Army during the 1944 Normandy Campaign. From 1943 Mosquitos with RAF Coastal Command strike squadrons attacked Kriegsmarine U-boats (particularly in the 1943 Bay of Biscay, where significant numbers were sunk or damaged) and intercepting transport ship concentrations.
The Mosquito flew with the Royal Air Force (RAF) and other air forces in the European theatre, and the Mediterranean and Italian theatres. The Mosquito was also used by the RAF in the South East Asian theatre, and by the Royal Australian Air Force (RAAF) based in the Halmaheras and Borneo during the Pacific War.
By the early-mid-1930s, de Havilland had a reputation for innovative high-speed aircraft with the DH.88 Comet racer. The later DH.91 Albatross airliner pioneered the composite wood construction that the Mosquito used. The 22-passenger Albatross could cruise at 210 miles per hour (340 km/h) at 11,000 feet (3,400 m), better than the 100 miles per hour (160 km/h) Handley Page H.P.42 and other biplanes it was replacing. The wooden monocoque construction not only saved weight and compensated for the low power of the de Havilland Gipsy Twelve engines used by this aircraft, but simplified production and reduced construction time.
Air Ministry bomber requirements and concepts:
On 8 September 1936, the British Air Ministry issued Specification P.13/36 which called for a twin-engined medium bomber capable of carrying a bomb load of 3,000 pounds (1,400 kg) for 3,000 miles (4,800 km) with a maximum speed of 275 miles per hour (443 km/h) at 15,000 feet (4,600 m); a maximum bomb load of 8,000 pounds (3,600 kg) which could be carried over shorter ranges was also specified. Aviation firms entered heavy designs with new high-powered engines and multiple defensive turrets, leading to the production of the Avro Manchester and Handley Page Halifax.
In May 1937, as a comparison to P.13/36, George Volkert, the chief designer of Handley Page, put forward the concept of a fast unarmed bomber. In 20 pages, Volkert planned an aerodynamically clean medium bomber to carry 3,000 pounds (1,400 kg) of bombs at a cruising speed of 300 miles per hour (480 km/h). There was support in the RAF and Air Ministry; Captain R N Liptrot, Research Director Aircraft 3 (RDA3), appraised Volkert's design, calculating that its top speed would exceed the new Supermarine Spitfire. There were, however, counter-arguments that, although such a design had merit, it would not necessarily be faster than enemy fighters for long. The ministry was also considering using non-strategic materials for aircraft production, which, in 1938, had led to specification B.9/38 and the Armstrong Whitworth Albemarle medium bomber, largely constructed from spruce and plywood attached to a steel-tube frame. The idea of a small, fast bomber gained support at a much earlier stage than sometimes acknowledged though it was unlikely that the Air Ministry envisaged it not using light alloy components.
Project Mosquito:
Once design of the DH.98 had started, de Havilland built mock-ups, the most detailed at Salisbury Hall, in the hangar where E0234 was being built. Initially, this was designed with the crew enclosed in the fuselage behind a transparent nose (similar to the Bristol Blenheim or Heinkel He 111H), but this was quickly altered to a more solid nose with a more conventional canopy.
The construction of the prototype began in March 1940, but work was cancelled again after the Battle of Dunkirk, when Lord Beaverbrook, as Minister of Aircraft Production, decided there was no production capacity for aircraft like the DH.98, which was not expected to be in service until early 1941. Although Lord Beaverbrook told Air Vice-Marshal Freeman that work on the project had better stop, he did not issue a specific instruction, and Freeman ignored the request. In June 1940, however, Lord Beaverbrook and the Air Staff ordered that production was to focus on five existing types, namely the Supermarine Spitfire, Hawker Hurricane, Vickers Wellington, Armstrong-Whitworth Whitley and the Bristol Blenheim. Work on the DH.98 prototype stopped, and it seemed that the project would be shut down when the design team were denied the materials with which to build their prototype.
The Mosquito was only reinstated as a priority in July 1940, after de Havilland's General Manager L.C.L Murray, promised Lord Beaverbrook 50 Mosquitoes by December 1941, and this, only after Beaverbrook was satisfied that Mosquito production would not hinder de Havilland's primary work of producing Tiger Moth and Oxford trainers and repairing Hurricanes as well as the licence manufacture of Merlin engines. In promising Beaverbrook 50 Mosquitoes by the end of 1941, de Havilland was taking a gamble, because it was unlikely that 50 Mosquitos could be built in such a limited time; as it transpired only 20 Mosquitos were built in 1941, but the other 30 were delivered by mid-March 1942.
During the Battle of Britain, nearly a third of de Havilland's factory time was lost because the workers took cover in the factory's bomb shelters. Nevertheless, work on the prototype went quickly, such that E0234 was rolled out on 19 November 1940.
In the aftermath of the Battle of Britain, the original order was changed to 20 bomber variants and 30 fighters. It was still uncertain whether the fighter version should have dual or single controls, or should carry a turret, so three prototypes were eventually built: W4052, W4053 and W4073. The latter, both turret armed, were later disarmed, to become the prototypes for the T.III trainer. This caused some delays as half-built wing components had to be strengthened for the expected higher combat load requirements. The nose sections also had to be altered, omitting the clear perspex bomb-aimer's position, to solid noses designed to house four .303 machine guns and their ammunition.
Overview:
The Mosquito was a fast, twin-engined aircraft with shoulder-mounted wings. The most-produced variant, designated the FB Mk VI (Fighter-bomber Mark 6), was powered by two Merlin Mk 23 or Mk 25 engines driving three-bladed de Havilland hydromatic propellers. The typical fixed armament for an FB Mk VI was four Browning .303 machine guns and four 20 mm Hispano cannon while the offensive load consisted of up to 2,000 pounds (910 kg) of bombs, or eight RP-3 unguided rockets.
Construction:
The oval-section fuselage was a frameless monocoque shell built in two halves being formed to shape by band clamps over a mahogany or concrete mould, each holding one half of the fuselage, split vertically. The shell halves were made of sheets of Ecuadorean balsawood sandwiched between sheets of Canadian birch, but in areas needing extra strength— such as along cut-outs— stronger woods replaced the balsa filler; the overall thickness of the birch and balsa sandwich skin was only 7⁄16 inch (11 mm). This sandwich skin was so stiff that no internal reinforcement was necessary from the wing's rear spar to the tail bearing bulkhead. The join was along the vertical centre line. This split construction greatly aided the assembly of the internal equipment as it allowed the technicians easy access to the fuselage interior. While the glue in the plywood skin dried, carpenters cut a sawtooth joint into the edges of the fuselage shells, while other workers installed the controls and cabling on the inside wall. When the glue completely dried, the two halves were glued and screwed together. The fuselage was strengthened internally by seven bulkheads made up of two plywood skins parted by spruce blocks, which formed the basis on each half for the outer shell. Each bulkhead was a repeat of the spruce design for the fuselage halves; a balsa sheet sandwich between two plywood sheets/skins. Bulkhead number seven carried the fittings and loads for the tailplane and rudder, The type of glue originally used was Casein, which was later replaced by "Aerolite", a synthetic urea-formaldehyde, which was more durable. Many other types of screws and flanges (made of various woods) also held the structure together.
The fuselage construction joints were made from balsa wood and plywood strips with the spruce multi-ply being connected by a balsa V joint, along with the interior frame. The spruce would be reinforced by plywood strips at the point where the two halves joined to form the V-joint. Located on top of the joint the plywood formed the outer skin. During the joining of the two halves ("boxing up"), two laminated wooden clamps would be used in the after portion of the fuselage to act as support. A covering of doped Madapolam (a fine plain woven cotton) fabric was stretched tightly over the shell and a coat of silver dope was applied, after which the exterior camouflage was applied. The fuselage had a large ventral section cut-out, which was braced during construction, to allow it to be lowered onto the wing centre-section. Once the wing was secured the lower panels were replaced, and the bomb bay or armament doors fitted.
The all-wood wing was built as a one-piece structure and was not divided into separate construction sections. It was made up of two main spars, spruce and plywood compression ribs, stringers, and a plywood covering. The outer plywood skin was covered and doped like the fuselage. The wing was installed into the roots by means of four large attachment points. The engine radiators were fitted in the inner wing, just outboard of the fuselage on either side. These gave less drag. The radiators themselves were split into three sections: an oil cooler section outboard, the middle section forming the coolant radiator and the inboard section serving the cabin heater. The wing contained metal framed and skinned ailerons, but the flaps were made of wood and were hydraulically controlled. The nacelles were mostly wood, although, for strength, the engine mounts were all metal as were the undercarriage parts. Engine mounts of welded steel tube were added, along with simple landing gear oleos filled with rubber blocks. Wood was used to carry only in-plane loads, with metal fittings used for all triaxially loaded components such as landing gear, engine mounts, control surface mounting brackets, and the wing-to-fuselage junction. The outer leading wing edge had to be brought 22 inches (56 cm) further forward to accommodate this design. The main tail unit was all wood built. The control surfaces, the rudder and elevator, were aluminium framed and fabric covered. The total weight of metal castings and forgings used in the aircraft was only 280 lb (130 kg).
In November 1944, several crashes occurred in the Far East. At first, it was thought these were as a result of wing structure failures. The casein glue, it was said, cracked when exposed to extreme heat and/or monsoon conditions. This caused the upper surfaces to "lift" from the main spar. An investigating team led by Major Hereward de Havilland travelled to India and produced a report in early December 1944 stating that "the accidents were not caused by the deterioration of the glue but by shrinkage of the airframe during the wet monsoon season". However a later inquiry by Cabot & Myers definitely attributed the accidents to faulty manufacture and this was confirmed by a further investigation team by the Ministry of Aircraft Production at Defford which found faults in six different Marks of Mosquito (all built at de Havilland's Hatfield and Leavesden plants) which showed similar defects, and none of the aircraft had been exposed to monsoon conditions or termite attack; thus it was concluded that there were construction defects found at the two plants. It was found that the "Standard of glueing...left much to be desired”. Records at the time showed that accidents caused by "loss of control" were three times more frequent on Mosquitoes than on any other type of aircraft. The Air Ministry forestalled any loss of confidence in the Mosquito by holding to Major de Havilland's initial investigation in India that the accidents were caused "largely by climate" To solve the problem, a sheet of plywood was set along the span of the wing to seal the entire length of the skin joint along the main spar.
Information regarding the de Havilland DH98 Mosquito has been taken from excerpts contained on Wikipedia
Aston Martin Ulster Roadster (1936)
In 1927 Aston Martin was taken over by race driver A. C. Bertelli. He designed a 1.5-litre, SOHC engine which would eventually power the LeMans-racing Ulster. Thoughout the years the engine was devloped to include dry sump lubrication.
The Aston Martin Ulster stands as one of the most respected pre-war racecars. It was largely based on the Mark II which came before it.
The Ulster had a breif two year race program. During this time they dominated the British Tourist Trophy at Goodwood. In 1934, Ulsters took first, second and third place. The best LeMans result was achieved in 1935. Chassis LM20 raced to third overall which put it first in the 1101 to 1500cc class.
After the race efforts, Aston Martin readied a production version of the LeMans cars. Twenty-One of these cars were built of which all are accounted for today.
Aston Martin Ulster information used from:
www.supercars.net/cars/2084.html
In the 1980's a small number (7) replicas of the Aston Martin Ulster Roadster were manufactured as a kit car:
Fergus Mosquito (Aston Martin Ulster replica)
Kop Hill Climb - 25th September 2011
Fergus Mosquito - an Aston Martin Ulster replica.
Only seven were made in Kingsbridge, Devon, in the 1980s, using donor Morris Marina B-series engines and other parts.
UIJ233 is the best of the 7 replicas.
These two models, the de Havilland DH98 Mosquito aircraft and the Aston Martin Ulster Roadster of 1936 have been created in Lego miniland scale for Flickr LUGNuts' 79th Build Challenge, - 'LUGNuts goes Wingnuts" - featuring automotive vehicles named after, inspired by or related to aircraft.
Gravity doesn't have any affect on desire. Ceratina Bees seem to become more active in the heat of the day, whether this is due to the temperature or something to do with the light; but that might be limited to our colony. Not sure.
Portland, Oregon.
President Barack Obama looks out the window of Marine One during the flight to Soldier Field in Chicago, Ill., Jan. 11, 2012. (Official White House Photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
Al día siguiente de despedir al Unamuno impar y de cazar el primer paso de material convencional a Mora la Nova, volví a Vilanova para cazar el primer paso de Talgo III a Sariñena, que vino con la 252.051, 4 mansos y 4 ramas.
The day after photographing the last odd Unamuno service and the first out of service conventional carriages transfer to Mora la Nova, I went back to Vilanova to catch the first out of service Talgo III passing to Sariñena, which came with the 252.051, four “manso”s and four racks.
Material Circulante: CP 1437 + UTD 592.227
Hora: 17:10
Data: 14-10-2014
Local: Moledo (PK 100 - Linha do Minho)
Serviço: Comboio Especial n.º 92234 (Valença --» Contumil) [Transporte da Primeira UTD 592.2]
Material Circulante: CP 0186
Hora: 16:11
Data: 23-09-2018
Local: Estação do Pinhão (PK 126 - Linha do Douro)
Obs: Abastecimento de Água
Gayndah Courthouse – Sir Harry Gibbs Legal Heritage Centre.
The Queensland Heritage Register listed timber Gayndah Courthouse was built in 1928 and opened January 1929, designed by the Queensland Department of Public Works.
The Courthouse is a single-storeyed timber building with a hipped corrugated-iron roof and two projecting gables. A verandah runs along the front of the building between the gables. The gables have bell-cast timber-boarded sun hoods over the windows. The large central ventilator on the roof is the dominant decorative element of the building. The exterior of the courthouse is reasonably intact, except for metal louvres enclosing the verandahs.
Gayndah Courthouse is a typical example of the work of the Public Works Department and is a continuation of the tradition of timber court houses in Queensland country towns, adapting to civic function vernacular elements and materials common to domestic buildings. The building has a T-shaped plan, with offices along the front and the court room at the rear. The building replaces an earlier one of 1861.
References: POI-Australia: State Library of Queensland.
The earliest records for the original Courthouse date to 1861. This first structure was located near the police station on a site adjacent to the former hospital grounds. By 1910 the building was insufficient and isolated for the population. It was not until 1927 that building plans for a new Courthouse were prepared and construction finished in 1928.The building also accommodated Police Magistrates, the Land Commissioner and Land Rangers, the Clerk of Petty Sessions and public officers, the Dairy Inspector, the Agricultural Bank as well as storerooms. The exterior is well equipped and the building is listed on the Queensland Heritage Register.
Reference: Queensland Heritage Register.
Fibenol head office in Tallinn, Estonia.
Sustainable Materials for Net Zero Asphalt Pavements – at the Estonian Embassy in Stockholm
A gathering of innovators, scientists, and infrastructure leaders at the Embassy of Estonia in Stockholm explored how biomaterials can decarbonize road construction. Hosted with Estonian cleantech innovator Fibenol, the event showcased lignin-based solutions and cross-sector collaboration to accelerate Net Zero asphalt pavements and climate-smart cities.
CleanTech Region was advising and mentoring Fibenol through the senior advisory program by Tehnopol.
Fibenol: fibenol.com/
Photos and videos courtesy of Lars Ling. linktr.ee/larsling
© 2025 Lars Ling / CleanTech Region Group. All rights reserved.
This Anti-Everything rifle is usually carried by a two man team. The digital imaging scope allows for the most accurate of shots. A custom tooled 55 cal round with an Iridium Iron Alloy tip for major armour busting.
Can be edited if people think it needs some changing.
Educated as a biologist and natural scientist, herman de vries has been working for more than sixty years on an uncommonly versatile oeuvre in which art, science and philosophy are juxtaposed with the reality of the world. His focus stems from natural processes and phenomena, presented by him as the primary, physical reality in which human existence is rooted. de vries gathers, orders, isolates and displays objects from nature, directing our attention to both the oneness and the diversity of the world surrounding us. The strength and richness of de vries’ oeuvre stems from the biotope that he has developed in his hometown of Eschenau (Germany)and the places he visited during his travels, including Venice.
The open, transparent and spatially poetic character of the Dutch pavilion in the Giardini in Venice built by Rietveld in 1954 symbolizes the rational and optimistically progressive way of thinking that prevailed during the first half of the Twentieth Century. The work of herman de vries, made from organic and natural materials counters this notion and attests to the idea that processes and phenomena in nature are too complex to explain in a rational manner.
The title of the exhibition to be all ways to be, expresses the idea that the experience of and reflection on human existence takes many divergent paths, none of which is superior or inferior to the other. Experienced through the eye, ear, body and nose, the works within the pavilion, the Giardini and at different locations within the Venetian Lagoon, will question existing definitions and positions with regard to nature and culture.