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Area under Tool Room, with wooden bars on front, mesh in back. Upside-down crate marked PR-C (Public Relations-C). Possible box of checks in lower right corner. Clothing and other items.
Photograph from the FBI released under the Freedom of Information Act. Courtesy the Jonestown Institute.
Astronauts from five space agencies around the world take part in ESA’s CAVES training course– Cooperative Adventure for Valuing and Exercising human behaviour and performance Skills.
The three-week course prepares astronauts to work safely and effectively in multicultural teams in an environment where safety is critical.
As they explore caves they encounter caverns, underground lakes and strange microscopic life. They test new technology and conduct science – just as if they were living on the International Space Station.
The six astronauts have to rely on their own skills, teamwork and ground control to achieve their mission goals – the course is designed to foster effective communication, decision-making, problem-solving, leadership and team dynamics.
The six cavenauts of this edition of CAVES are ESA astronaut Alexander Gerst, NASA astronauts Joe Acaba and Jeanette Epps, Roscosmos’ cosmonaut Nikolai Chub, Canadian Space Agency astronaut Josh Kutryk and Japan’s space agency Takuya Onishi.
Credits: ESA – V. Crobu
PRIMITIVE GERMAN TYPECASTING TOOL WITH HANDWRITTEN MANUAL
I got this single letter typecasting tool from a family in St. Gallen. They've had it from their family letterpress printshop which closed down somewhen in the late 80ies.
It is a tool with which you could copy some single large bodied leadtype sorts. In the handwritten manual it says: You would cast a lead-matrix (YES! LEAD-MATRIX...) from a piece of type. It says: Blacken the letter first with an oil lamp, then cast a matrix – the lead shouldn't be to hot. Then you use a oil-lamp to blacken your fresh cast matrix again and off you go casting a letter...
It says further that they bought this tool somewhen in the 1920ies from Berlin! It is still in its original box! It also says that it works pretty well, if you get trained a bit... haha
I didnt try it out yet! But I am really happy that this old men wrote a short manual before he packed it up to archive it in the late 1980ies!
For my collection of tool box/tool bag pics.
Les, who did the general rehab on my very very “vintage” garage, had several tool bags and tool boxes on-site for the job. This was his most essential kit and is densely packed. Somewhat heavier than I’d care to lug around.
Which one color or black and white???
Thanks to all who stop to look and comment. I will be sure to look at your photostream and leave a comment
One for my collection of pics showing how different tradesmen have widely varying types of basic tool outfits.
This one belongs to the lead guy of a 2-man crew that installed our new heat pump.
Not a whole lot of organization to it. But as they say, "I know just where everything is."
This is the pegboard I installed to the left of the work desk. I keep planning t paint it some nice, perky color, but I have not gotten to it yet.
Johann Wilhelm Schirmer (1807 - 1863; active in Dusseldorf and Karlsruhe)
Landscape at Civitella, 1839
Acquired in 1920; inventory Lg 71
Johann Wilhelm Schirmer (1807 - 1863; tätig in Düsseldorf und Karlsruhe)
Landschaft bei Civitella, 1839
Erworben 1920; Inventar Lg 71
Collection
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
“GEMINI XI D-16 EQUIPMENT -- (Top Left) Tether “clip” proposed for use by Astronaut Richard F. Gordon for extravehicular activities during flight of the National Aeronautics and Space Administration’s Gemini XI spacecraft. He will be tethered to the adapter section of the spacecraft during the D-16 experiment by a strap from the knee of his space suit “clipped” to the adapter section. (Top Right) Minimum reaction power tool planned for the D-16 experiment. (Bottom left) Adapter section showing restraint box containing minimum reaction power tool. The box will be put in this position by Astronaut Richard F. Gordon, pilot for the mission, during the D-16 experiment to determine man’s ability to perform work tasks in space and to evaluate tool performance. (Bottom right) Restraint box containing minimum reaction tool inside adapter section of Gemini IX spacecraft. The box will be pulled out to a work position by Astronaut Richard F. Gordon, during the D-16 experiment.”
Due to Gordon’s difficulties during the first EVA of the mission, which was truncated as a result, the D-16 experiment was not conducted.
Unfortunately, this was the final mission that was to have conducted such an experiment during the Gemini program, as attempts during previous missions were also thwarted.
If you're on to a good thing - stick to it.
Although it was clear that the days of the body-on-frame passenger car were numbered, there was still a clearly identified and loyal customer.
When playing to your strengths, in this case the separate frame construction, you can sometimes turn a perceived 'disadvantage' into an 'advantage'. In this respect, the product conceived as the Ford Crown Victoria Coupe-Utility (in about 2006), looked to its separate frame construction as a method of providing a vehicle type - the Coupe-Utility, long absent from the US market, into a viable product proposition by borrowing the 'utility' section from the similarly sized forthcoming Ford Falcon Ute (as Australians call the coupe-utility design), due for release in 2008.
The Ford Falcon in Australia has had the Coupe-Utility design from day one. In fact, the Coupe Utility was originally conceived and designed in Australia by the fledgling Product Development group in 1934 (on a Ford V8). The intent was to provide a farmer with a single vehicle that he could take the pigs to market, and also to go to church on Sunday. For history buffs, its creator was a young engineer named Lewis Bandt.
Any, an interesting divergence from the main story.
In the mid to late 2000s, both Ford Australia and GM's Holden division were proving their mettle in developing RWD vehicle architectures that could compete globally. Holden built and exported its large RWD car, the Commodore (and LWB Caprice) derivatives to the Middle East in large volumes, along with other markets. A similar plan was also conceived to send the Falcon to this same market, but internal politics resolved in favour of supplying Crown Victorias.
In 2006, the VE Commodore debuted GM's new Zeta platform, destined also for the Camaro (also engineered in Australia), along with various other derivatives. The Commodore was exported to the US to provide the Pontiac G8, and it was rumoured that the Commodore wagon and Utility would also be soon following as a Sports-Wagon and Coupe-Utility counterpart, bolstering Pontiacs sport performance image with some vehicles which could actually deliver.
Ford hastily conceived a response. Having rejected the LHD Falcon for Mid-East markets, it was similarly undesirable to remedy the issue and build volumes of LHD Falcons (which incidentally did not have a US-compliant engine program - but this is another saga-length story). However, the rear utility section of the AU-BF, and superseding FG, were unlike to traditional Coupe-Utility, a separate unit, mounted to a traditional rear rail section. As the Crown Victoria and Falcon were substantially the same size, exporting only the load box provided a majority of the new content required to make a Crown Vic Coupe-Utility, but with none of the engine or vehicle homologation issues presented by bringing over the Falcon whole. The one remaining issue, the fitment of a rear body panel took the form of surrogate Falcon panels in the prototype vehicles built, but was to be better served by the creation of a dedicated Crown Victoria panel section.
All this seemed to be going to plane. Ford's highest volume US car line was to be injected with a fresh dose of market, due to the Coupe utility, which could be sold to fleet services, notable Police and Fire to supplement to Crown Victoria Sedans that they already used.
Storm clouds were brewing on the horizon though. Ford was reluctant to invest in an unknown product, and was busy divesting itself of the various units of its Premier Automotive Group (PAG), comprising of Aston Martin, Jaguar, Land Rover and Volvo.
Similarly, as GM head toward bankruptcy, it put forward for sale, or closure, the SAAB, Saturn, Pontiac and Hummer divisions.
Alas, a Crown Victoria Coupe-Utility (or even a Ranchero nameplate), was stillborn, but not before a number of prototype vehicles had been built and tested (though not fully tooled).
The model you see here is the result of a 'Rat-Rod' exercise, whereby the model has been 'enhanced' in the idiom of the Rat-Rod, but with a modern touch. Many of the prototypes were painted as Police service vehicles as part of a product assessment tour to various Police Vehicle assessment teams. The model here wears the residual efforts of the traditional 'Black and White', though with a heavy patina of rust and ruin.
This Lego miniland-scale LUGNuts Ford Crown Victoria Coupe-Utility Rat-Rod has been created for Flickr LUGNuts' 102nd Build Challenge, titled - 'I Smell a (Modern) Rat!'. In this challenge, any post-1996 vehicle can be built as a rat-rod.
In July, my wife and I joined family to see the Historic Crab Orchard Museum in Tazewell, VA. Here is a scene from the Carpenter's Shop.
The sign on the Carpenter's Shop reads...
"Carpenter's Shop
Most early pioneers were skilled in carpentry, since homes, barns, and workshops were usually wooden.
Many days were spent in the forest using hand saws and axes to cut large trees for walls, boards, and shingles. Strong horses with ropes could be used to drag the large trimmed logs to the building site.
At the building site, tools of precision were used, such as the broad axe to hew out logs for walls, the froe to split shingles or shakes for the roofs, and the auger, used to drill holes for pegs, which essentially help hold the structure together.
More experienced carpenters had shops for their business, displaying expertise in making the finer wooden products. A farmer could trade livestock or fresh vegetables for basic furnishings such as doors, tables, and chairs. Using precision tools such as a hand plane or chisel, more admirable pieces like walnut hutches, chestnut mantles, or spinning wheels were fashioned."
Surprisingly, the tool I use most on my iPod (tool) is the calculator. I also use my camera (tool) every day.
"What tools do you use and appreciate on a daily basis? Make an interesting photo of one such tool today." (@koocbor) @dailyshoot #ds177
2010/365
Awesome Tool roll collaboration with Lemolo Bags!! These things rule and are super versatile. They are space great for Brooks style saddle loops but will strap on any saddle, handlebars, racks, toptubes, pretty much any where you wanna stick it. And, they come stocked with Full Size tools!! From the tiniest Park allen wrench up to 8mm, 8-11 mm box style Park wrenches, Topeak full sized chain tool, two Tire levers, a green spoke wrench and even that chainring bolt tool no one ever has around! Also has little bungees for keepin a tube of your choice in the roll. I couldn't be more excited on how these came out, Elias at Lemolo is amazing and really nailed this. They are $120 fully loaded with tools and ready to ship.
This is the place where my father spends a lot of time after his work. He is really talented and likes to fix everything that has been broken.
Made from a masonry nail, forged and tempered with a blowtorch. It's taken an edge beautifully, razor sharp. Handle turned from local boxwood.
Some of Walt's tools from inside Walt's Barn at the Los Angeles Live Steamers Museum in Griffith Park. See: www.carolwood.com/WaltsBarn/