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21 Brannon, Fred. C.
1901-1953El caso de Brannon es muy peculiar: en apenas ocho anos de actividad cinematografica, entre 1945 y 1953, realiza un buen punado de seriales y peliculas de genero para Republic. Muere ese mis mo ano, pocos dias antes de cumplir los 52. Allan Lane, uno de los nombres del western de serie B, aunque no de los mas destacados, es el protagonista de la ma yor parte de los de Brannon, quien mostro una gran capacidad de trabajo durante sus pocos anos de ac tividad realizadora. Son peliculas modestas, en absoluto destacables, pero suficientemente entretenidas.The Phantom Rider (co-d.: Spencer Gordon Bennett). 1946. 167 minutos. 12 capitulos. Blanco y Negro. Republic. Robert Kent, Peggy Stewart.King of the Forest Rangers (co-d.: Spencer Gordon Bennett). 1946. 167 minutos. 12 capitulos. Blanco y Negro. Republic. Larry Thompson, Helen Talbot.Son of Zorro (co-d.: Spencer Gordon Bennett). 1947. 180 minutos. 13 capitulos.Blanco y Negro. Republic. George Turner, Peggy Stewart. Jesse James Rides Again (co-d.: Thomas Carr). 1947. 180 minutos. 13 capitulos. Blanco y Negro. Republic. Clayton Moore, Linda Stirling.Dangers of the Canadian Mounted (co-d.: Yakima Canutt). 1948. 156 minutos. 12 capitulos. Blanco y Negro. Republic. Jim Bannon, Virginia Belmont.Adventures of Frank and Jesse James (co-d.: Yakima Canutt). 1948. 180 minutos. 13 capitulos. Blanco y Negro. Republic. Clayton Moore, Steve Darrell, Noel Neill.Frontier Marshall. 1949. 60 minutos. Blanco y Negro. Republic. Allan Lane, Gail Davis, Eddy Waller.Ghost of Zorro. 1949. 167 minutos. 12 capitulos. Blanco y Negro. Republic. Clayton Moore, Pamela Blake.Bandit King of Texas. 1949. 60 minutos. Blanco y Negro. Republic. Allan Lane, Helene Stanley, Eddy Waller.The James Brothers of Missouri. 1950. 167 minutos. 12 capitulos. Blanco y Negro. Republic. Keith Richards, Robert Bice, Noel Neill.Gunmen of Abilene. 1950. 60 minutos. Blanco y Negro. Republic. Allan Lane, Donna Hamilton, Eddy Waller.Code of the Silver Sage. 1950. 60 minutos. Blanco y Negro. Republic. Allan Lane, Kay Christopher, Eddy Waller.Salt Lake Raiders. 1950. 60 minutos. Blanco y Negro. Republic. Allan Lane, Martha Hyer, Eddy Waller.Vigilante Hideout. 1950. 60 minutos. Blanco y Negro. Republic. Allan Lane, Virginia Herrick, Eddy Waller.Rustlers on Horseback. 1950. 60 minutos. Blanco y Negro. Republic. Allan Lane, Claudia Barrett, Eddy Waller.Desperadoes of the West. 1950. 167 minutos. 12 capitulos. Blanco y Negro. Republic. Tom Keene, Roy Barcroft, Judy Clark.Rough Riders of Durango. 1951. 60 minutos. Blanco y Negro. Republic. Allan Lane, Aline Towne, Walter Baldwin.Night Riders of Montana. 1951. 60 minutos. Blanco y Negro. Republic. Allan Lane, Claudia Barrett, Chubby Johnson.Don Daredevil Rides Again. 1951. 167 minutos. 12 capitulos. Blanco y Negro. Republic. Ken Curtis, Roy Barcroft, Aline Towne.Arizona Manhunt. 1951. 60 minutos. Blanco y Negro. Republic. Michael Chapin, Eilene Janssen.Captive of Billy the Kid. 1952. 54 minutos. Blanco y Negro. Republic. Allan Lane, Penny Edwards, Grant Whiters.Wild Horse Ambush. 1952. 54 minutos. Blanco y Negro. Republic. Michael Chapin, Eilene Janssen, James Bell.Ghost of Zorro. 1959. 69 minutos. Blanco y Negro. Republic. Clayton Moore, Pamela Blake.English-Spanish dictionary of western films > Brannon, Fred. C.
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22 Herman, Albert
1887-1958Albert Herman hizo muchas peliculas, tal vez demasiadas peliculas; cerca de doscientas incluye su filmografia completa, si bien hay que aclarar que, de ellas, cerca de 130 son cortometrajes, la mayor parte de ellos mudos. Ya en el sonoro, con el diminutivo frecuente de Al Herman, se enfrento a un buen pu nado de westerns, entre otras peliculas de caracter dramatico principalmente, que no le aportaron una gloria especial. Dirige a algunas de las estrellas del western de serie B en peliculas de bajo presupuesto para diversas productoras, aunque es Monogram con la que mas trabaja.Twisted Rails. 1935. 51 minutos. Blanco y Negro. Imperial. Jack Donovan, Alice Dahl.Big Boy Rides Again. 1935. Blanco y Negro. Beacon/Alexander. Guinn Williams, Constante Bergen, Lafe McKee.The Cowboy and the Bandit. 1935. 57 minutos. Blanco y Negro. Superior Talking. Rex Lease, Bobby Nelson, Blanche Mehaffey.Western Frontier (Huerfanos del Oeste). 1935. 59 minutos. Blanco y Negro. Columbia. Ken Maynard, Lucile Browne, Nora Lane.Trail’s End. 1935. 61 minutos. Blanco y Negro. Beaumont. Conway Tearle, Fred Kohler, Claudia Dell.Gun Play. 1935. 59 minutos. Blanco y Negro. Beacon/Alexander. Guinn Williams, Marion Shilling.Blazing Justice. 1936. 60 minutos. Blanco y Negro. Spectrum. Bill Cody, Gertrude Messinger.Outlaws of the Range. 1936. 59 minutos. Blanco y Negro. Spectrum. Bill Cody, Catherine Cotter (Marie Burton).Valley of Terror. 1937. 59 minutos. Blanco y Negro. Ambassador. Kermit Maynard, John Merton, Harley Wood.Renfrew of the Royal Mounted. 1937. 57 minutos. Blanco y Negro. Grand National. James Newill, Carol Hugues, William Royle.On the Great White Trail. 1938. 58 minutos. Blanco y Negro. Grand National. James Newill, Terry Walker, Robert Frazer.Rollin’ Plains. 1938. 57 minutos. Blanco y Negro. Grand National. Tex Ritter, Hobart Bosworth, Snub Pollard, Harriet Bennett.The Utah Trail. 1938. 56 minutos. Blanco y Negro. Grand National. Tex Ritter, Horace Murphy, Snub Pollard, Pamela Blake.Starlight Over Texas. 1938. 58 minutos. Blanco y Negro. Monogram. Tex Ritter, Carmen LaRoux, Snub Pollard, Horace Murphy.Where the Buffalo Roam. 1938. 61 minutos. Blanco y Negro. Monogram. Tex Ritter, Horace Murphy, Snub Pollard, Dorothy Short.Song of the Buckaroo. 1939. 58 minutos. Blanco y Negro. Monogram. Tex Ritter, Jinx Falkenberg, Horace Murphy, Snub Pollard.Sundown on the Prairie. 1939. 58 minutos. Blanco y Negro. Monogram. Tex Ritter, Dorothy Fay.Rollin’ Westward. 1939. 55 minutos. Blanco y Negro. Monogram. Tex Ritter, Dorothy Fay.The Man from Texas. 1939. 56 minutos. Blanco y Negro. Monogram. Tex Ritter, Ruth Rogers, Charles B. Wood.Down the Wyoming Trail. 1939. 56 minutos. Blanco y Negro. Monogram. Tex Ritter, Mary Brodel, Charles King, Horace Murphy.Rhythm of the Rio Grande. 1940. 53 minutos. Blanco y Negro. Monogram. Tex Ritter, Suzan Dale, Warner Richmond.Pals of the Silver Sage. 1940. 52 minutos. Blanco y Negro. Monogram. Tex Ritter, Sugar Dawn, Slim Andrews.The Golden Trail. 1940. 52 minutos. Blanco y Negro. Monogram. Tex Ritter, Inna Gest, Slim Andrews.Rainbow Over the Range. 1940. 60 minutos. Blanco y Negro. Monogram. Tex Ritter, Dorothy Fay.Roll, Wagons, Roll. 1940. 52 minutos. Blanco y Negro. Monogram. Tex Ritter, Muriel Evans.Arizona Frontier. 1940. 60 minutos. Blanco y Negro. Monogram. Tex Ritter, Evelyn Finley.Take Me Back to Oklahoma. 1940. 57 minutos. Blanco y Negro. Mono gram. Tex Ritter, Terry Walker.Rollin’ Home to Texas. 1940. 63 minutos. Blanco y Negro. Monogram. Tex Ritter, Virginia Carpenter.The Pioneers. 1941. 58 min. B y N. Monogram. Tex Ritter, Wanda McKay.The Rangers Take Over. 1942. 60 minutos. Blanco y Negro. PRC. Dave O’Brien, Jim Newill, Iris Meredith.Bad Men of Thunder Gap. 1943. 57 minutos. Blanco y Negro. PRC. Dave O’Brien, Jim Newill, Janet Shaw.English-Spanish dictionary of western films > Herman, Albert
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23 Hillyer, Lambert
1889-1969Enormemente fecundo, este especialista del western (rodo un centenar, entre mudos y sonoros) no desdeno acercarse a otros generos. El resultado es un centenar y medio sobrado de peliculas, en las que no faltan detalles de buen hacer, aunque el ex ceso sumerge el todo en la atonia. Se hizo director con Thomas Ince y logro algun western mudo de buen nivel, como The Narrow Trail (1917), con Wil liam S. Hart, para quien siempre fue su director favorito, co mo protagonista. Trabajo basicamente para Colum bia y Monogram, y hay quien afirma que si Hil lyer hu biera dispuesto de presupuestos holgados, su nombre se incluiria hoy entre los grandes del western.Beau Bandit. 1930. 68 minutos. Blanco y Negro. RKO. Rod LaRocque, Doris Kenyon.The Deadline (Reo ante la ley). 1931. 65 minutos. Blanco y Negro. Columbia. Buck Jones, Loretta Sayers.One Man Law (Fraude legal). 1932. 63 minutos. Blanco y Negro. Columbia. Buck Jones, Shirley Grey.The Fighting Fool. 1932. 58 minutos. Blanco y Negro. Columbia. Tim McCoy, Marceline Day.South of the Rio Grande (El terror de la sierra). 1932. 61 minutos. Blanco y Negro. Columbia. Buck Jones, Mona Maris.Hello Trouble. 1932. 67 minutos. Blanco y Negro. Columbia. Buck Jones, Lina Basquette.White Eagle (El aguila blanca). 1932. 67 minutos. Blanco y Negro. Columbia. Buck Jones, Barbara Weeks.Forbidden Trail. 1932. 71 minutos. Blanco y Negro. Columbia. Buck Jones, Barbara Weeks.The California Trail. 1933. 67 minutos. Blanco y Negro. Columbia. Buck Jones, Helen Mack.Unknown Valley. 1933. 69 minutos. Blanco y Negro. Columbia. Buck Jones, Cecilia Parker.The Fighting Code. 1933. 65 minutos. Blanco y Negro. Columbia. Buck Jones, Diane Sinclair.Sundown Rider (El jinete del ocaso). 1933. 65 minutos. Blanco y Negro. Columbia. Buck Jones, Barbara Weeks.The Man Trailer. 1934. 59 minutos. Blanco y Negro. Columbia. Buck Jones, Cecilia Parker.The Durango Kid. 1940. 60 minutos. Blanco y Negro. Columbia. Charles Starrett, Luana Walters, Bob Nolan.Beyond the Sacramento. 1940. 58 minutos. Blanco y Negro. Columbia. Bill Elliott, Dub Taylor, Evelyn Kayes.The Wildcat of Tucson. 1940. 59 minutos. Blanco y Negro. Columbia. Bill Elliott, Evelyn Young, Dub Taylor.The Pinto Kid. 1941. 61 minutos. Blanco y Negro. Columbia. Charles Starrett, Bob Nolan, Louise Currie.North from the Lone Star. 1941. 58 minutos. Blanco y Negro. Columbia. Bill Elliott, Dorothy Fay, Dub Taylor.The Return of Daniel Boone. 1941. 61 minutos. Blanco y Negro. Columbia. Bill Elliott, Betty Miles, Dub Taylor.Hands Across the Rockies. 1941. 58 minutos. Blanco y Negro. Columbia. Bill Elliott, Mary Daily, Dub Taylor.The Medico of Painted Springs. 1941. 58 minutos. Blanco y Negro. Columbia. Charles Starrett, Terry Walker.The Son of Davy Crockett. 1941. 59 minutos. Blanco y Negro. Columbia. Bill Elliott, Iris Meredith, Dub Tayor.Thunder Over the Prairie. 1941. 61 minutos. Blanco y Negro. Columbia. Charles Starrett, Eileen O’Hearn, Cliff Edwards.King of Dodge City. 1941. 63 minutos. Blanco y Negro. Columbia. Bill Elliott, Tex Ritter, Judith Linden, Dub Taylor.Prairie Stranger. 1941. 68 minutos. Blanco y Negro. Columbia. Charles Starrett, Patti McCarty.Roaring Frontiers. 1941. 60 minutos. Blanco y Negro. Columbia. Bill Elliott, Tex Ritter, Ruth Ford, Frank Mitchell.The Royal Mounted Patrol. 1941. 59 minutos. Blanco y Negro. Columbia. Charles Starrett, Wanda McKay, Russell Hayden.North of the Rockies. 1942. 60 minutos. Blanco y Negro. Columbia. Bill Elliott, Tex Ritter, Shirley Patterson,Frank Mitchell.Devil’s Trail. 1942. 61 minutos. Blanco y Negro. Columbia. Bill Elliott, Tex Ritter, Eileen O’Hearn, Frank Mitchell.Prairie Gunsmoke. 1942. 56 minutos. Blanco y Negro. Columbia. Bill Elliott, Tex Ritter, Virginia Carroll, Frank Mitchell.Vengeance of the West. 1942. 60 minutos. Blanco y Negro. Columbia. Bill Elliott, Tex Ritter, Adele Mara, Frank Mitchell.Fighting Frontier. 1943. 57 minutos. Blanco y Negro. RKO. Tim Holt, Ann Summers, Cliff Edwards.The Stranger from Pecos. 1943. 55 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Christine McIntyre.Six Gun Gospel. 1943. 59 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Inna Gest.The Texas Kid. 1943. 59 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Shirley Patterson.Partners of the Trail. 1944. 57 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Christine McIntyre.Law Men. 1944. 58 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Jan Wiley.Range Law. 1944. 57 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Ellen Hall.West of the Rio Grande. 1944. 57 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Christine McIntyre.Outlaw Brand. 1944. 56 minutos. Blanco y negro. Monogram. Johnny Mack Brown, Raymond Hatton, Nan Holliday.Ghost Guns. 1944. 60 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Evelyn Finley.Stranger from Santa Fe. 1945. 57 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Beatrice Gray.Beyond the Pecos. 1945. 58 minutos. Blanco y Negro. Universal. Robert Cameron, Eddie Dew, Fuzzy Knight, Jennifer Holt.Flame of the West. 1945. 70 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Joan Woodbury.South of the Rio Grande. 1945. 62 minutos. Blanco y Negro. Monogram. Duncan Renaldo, Martin Galarraga, Armida, Lillian Molieri.The Lost Trail. 1945. 53 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Jennifer Holt.Frontier Feud. 1945. 54 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Christine McIntyre.Border Bandits. 1946. 58 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Rosa del Rosario.Under Arizona Skies. 1946. 59 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Reno Browne.The Gentleman from Texas. 1946. 55 min. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Claudia Drake, Reno Browne, Christine McIntyre.Trigger Fingers. 1946. 56 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Jennifer Holt.Shadows on the Range. 1946. 58 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Jan Bryant.Silver Range. 1946. 53 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Jan Bryant.Raiders of the South. 1947. 55 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Evelyn Brent, Reno Browne.Valley of Fear. 1947. 54 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Christine McIntyre.Trailing Danger. 1947. 58 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Peggy Wynne.Land of the Lawless. 1947. 54 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Christine McIntyre, June Harrison.The Law Comes to Gunsight. 1947. 56 minutos. Blanco y Negro. Mono gram. Johnny Mack Brown, Raymond Hatton, Reno Browne.Flashing Guns. 1947. 59 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Jan Bryant.Prairie Express. 1947. 55 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Virginia Belmont.Gun Talk. 1947. 57 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Christine McIntyre, Geneva Gray.Song of the Drifter. 1948. 53 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Mildred Coles.Overland Trails. 1948. 58 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Virginia Belmont.Oklahoma Blues. 1948. 56 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Virginia Belmont.Crossed Trails. 1948. 53 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Lynne Carver.Sundown Riders. 1948. 65 minutos. Color (Kodachrome). Film Enter prises. Russell Wade, Jay Kirby, Andy Clyde, Evelyn Finley.Frontier Agent. 1948. 56 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Reno Browne, Raymond Hatton.Range Renegades. 1948. 54 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Jennifer Holt.The Fighting Ranger. 1948. 57 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Christine Larson.Partners of the Sunset. 1948. 53 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Christine Larsen.The Sheriff of Medicine Bow. 1948. 55 minutos. Blanco y Negro. Mono gram. Johnny Mack Brown, Raymond Hatton, Max Terhune, Evelyn Finley.Outlawd Brand. 1948. 58 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Kay Morley.Gun Runner. 1949. 54 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Noel Neill.Gun Law Justice. 1949. 55 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Jane Adams.Trail’s End. 1949. 57 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Max Terhune, Kay Morley.Haunted Trails. 1949. 58 minutos. Blanco y Negro. Monogram. Whip Wilson, Andy Clyde, Reno Browne.Riders of the Dusk. 1949. 57 minutos. Blanco y Negro. Monogram. Whip Wilson, Andy Clyde, Reno Browne.Range Land. 1949. 56 minutos. Blanco y Negro. Monogram. Whip Wilson, Andy Clyde, Reno Browne.English-Spanish dictionary of western films > Hillyer, Lambert
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24 Witney, William N.
1915-2002En sus inicios profesionales, a mediados de los anos 30, Witney hizo un poco de todo: fue montador, ayudante de direccion e, incluso, guionista, pero a partir de 1937 se dedico a la realizacion, convirtiendose en uno de los directores prolificos de Hollywood, en este caso para la productora Republic. En sus primeros anos como realizador, se especializo en seriales realizados en colaboracion, en particular con John English. La division del trabajo era sencilla: este rodaba las escenas de dialogo y los interiores, y Witney las escenas de accion. De este modo, fue adquiriendo justa fama como director de peliculas de accion, con grandes peleas y largas cabalgadas. Aunque la parte mas extensa de su filmografia la ocupan los westerns, es justo reconocer su labor en otros filmes de accion como Aventuras del capitan Maravillas (Adventures of Captain Marvel, 1941), se rial realizado con el ya citado John English. Como al gunos otros de sus companeros, sirvio extensamente a estrellas del western, en este caso Roy Rogers y Rex Allen. En sus peliculas hay de todo, pero no seria malo revisarlas con alguna atencion porque encontraremos en ellas no pocos detalles interesantes de personal estilo cinematografico.The Painted Stallion (co-d.: Alan James, Ray Taylor). 1937. 212 minutos. 12 capitulos. Blanco y Negro. Republic. Ray Corrigan, Hoot Gibson, LeRoy Mason, Duncan Renaldo, Julia Thayer.The Trigger Trio. 1937. 60 minutos. Blanco y Negro. Republic. Ray Corrigan, Max Terhune, Sandra Corday, Hal Taliaferro.Zorro Rides Again (co-d.: John English). 1937. 212 minutos. 12 capitulos. Blanco y Negro. Republic. John Caroll, Helen Christian.The Painted Stallion (co-d.: Alan James, Ray Taylor). 1938. 67 minutos. Blanco y Negro. Ray Corrigan, Hoot Gibson, Jean Carmen.The Lone Ranger (co-d.: John English). 1938. 264 minutos. 15 capitulos. Blanco y Negro. Republic. Lee Powell, Lynne Roberts, Bruce Bennett.The Lone Ranger Rides Again (co-d.: John English). 1939. 263 minutos. 15 capitulos. Blanco y Negro. Republic. Robert Livingston, Duncan Renaldo.Zorro’s Fighting Legion (co-d.: John English). 1939. 212 minutos. Blanco y Negro. Republic. Reed Hadley, Sheila Darcey.Heroes of the Saddle. 1940. 59 minutos. Blanco y Negro. Republic. Robert Livingston, Raymond Hatton, Duncan Renaldo, Loretta Weaver, Patsy Lee Parsons.Hi-Yo Silver (co-d.: John English). 1940. 69 minutos. Blanco y Negro. Re public. Lee Powell, Lynne Roberts, Bruce Bennett.Adventures of Red Ryder (co-d.: John English). 1940. 205 minutos. 12 capitulos. Blanco y Negro. Republic. Don Barry, Noah Berry, Vivian Coe.King of the Royal Mounted (El rey de la policia montada) (co-d.: John English). 1940. 211 minutos. 12 capitulos. Blanco y Negro. Republic. Allan Lane, Robert Strange, Lita Conway.King of the Texas Rangers (co-d.: John English). 1941. 215 minutos. 12 ca pitulos. Blanco y Negro. Republic. Sammy Baugh, Pauine Moore, Duncan Renaldo.King of the Mounties. 1942. 196 minutos. 12 capitulos. Blanco y Negro. Republic. Allan Lane, Gilbert Emery, Peggy Drake.Outlaws of Pine Ridge. 1942. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Noah Beery.Yukon Patrol (co-d.: John English). 1942. 68 minutos. Blanco y Negro. Republic. Allan Lane, Robert Strange, Lita Conway.Roll on, Texas Moon. 1946. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, George Hayes.Home in Oklahoma. 1946. 72 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, George Hayes.Heldorado. 1946. 70 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, George Hayes.Apache Rose. 1947. 75 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Olin Howlin.Bells of San Angelo. 1947. 78 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Andy Devine.Springtime in the Sierras. 1947. 75 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.On the Old Spanish Trail. 1947. 75 minutos. Trucolor. Republic. Roy Ro gers, Jane Frazee, Andy Devine.The Gay Ranchero. 1948. 72 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.Under California Stars. 1948. 70 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.Eyes of Texas. 1948. 70 minutos. Trucolor. Republic. Roy Rogers, Lynne Roberts, Andy Devine.Nightime in Nevada. 1948. 67 minutos. Trucolor. Republic. Roy Rogers, Adele Mara, Andy Devine.Grand Canyon Trail. 1948. 67 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.The Far Frontier. 1948. 67 minutos. Trucolor. Republic. Roy Rogers, Gail Davis, Andy Devine.Susanna Pass. 1949. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Estelita Rodriguez.Down Dakota Way. 1949. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.The Golden Stallion. 1949. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.Bells of Coronado. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.Twilight in the Sierras. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.Trigger, Jr. 1950. 68 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady, Gordon Jones.Sunset in the West. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Penny Edwards, Gordon Jones, Estelita Rodriguez.North of the Great Divide. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Penny Edwards, Gordon Jones.Trail of Robin Hood. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Penny Edwards, Gordon Jones.Spoilers of the Plains. 1951. 68 minutos. Blanco y Negro. Republic. Roy Rogers, Penny Edwards, Gordon Jones.Heart of the Rockies. 1951. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Penny Edwards, Gordon Jones.In Old Amarillo. 1951. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Penny Edwards, Pinky Lee, Estelita Rodriguez.South of Caliente. 1951. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, Pinky Lee.Pals of the Golden West. 1951. 68 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, Pinky Lee, Estelita Rodriguez.Colorado Sundown. 1952. 67 minutos. Blanco y Negro. Republic. Rex Allen, June Vincent, Mary Ellen Kay, Slim Pickens.The Last Musketeer. 1952. 67 minutos. Blanco y Negro. Republic. Rex Allen, Mary Ellen Kay, Slim Pickens.Border Saddlemates. 1952. 67 minutos. Blanco y Negro. Republic. Rex Allen, Mary Ellen Kay, Slim Pickens.Old Oklahoma Plains. 1952. 60 minutos. Blanco y Negro. Republic. Rex Allen, Elaine Edwards, Slim Pickens.South Pacific Trail. 1952. 60 minutos. Blanco y Negro. Republic. Rex Allen, Estelita Rodriguez, Slim Pickens.Old Overland Trail. 1953. 60 minutos. Blanco y Negro. Republic. Rex Allen, Virginia Hall, Slim Pickens.Iron Mountain Trail. 1953. 54 minutos. Blanco y Negro. Republic. Rex Allen, Nan Leslie, Slim Pickens.Down Laredo Way. 1953. 54 minutos. Blanco y Negro. Republic. Rex Allen, Dona Drake, Marjorie Lord, Slim Pickens.Shadows of Tomsbtone. 1953. 54 minutos. Blanco y Negro. Republic. Rex Allen, Jeanne Cooper, Slim Pickens.The Outcast. 1954. 90 minutos. Trucolor. Republic. John Derek, Joan Evans, Jim Davis, Catherine McLeod.Santa Fe Passage (Senderos de violencia). 1955. 90 minutos. Trucolor. Republic. John Payne, Faith Domergue, Rod Cameron, Slim Pickens.Stranger at My Door (Un extrano a mi puerta). 1956. 85 minutos. Blanco y Negro. Republic. MacDonald Carey, Patricia Medina, Skip Homeier.Zorro Rides Again (co-d.: John English). 1959. 68 minutos. Blanco y Negro. Republic. John Carroll, Helen Christian, Duncan Renaldo.The Long Rope. 1961. 61 minutos. Blanco y Negro. CinemaScope. Fox. Hugh Marlowe, Lisa Montell, Alan Hale, Jr.Apache Rifles. 1964. 93 minutos. Color DeLuxe. Fox. Audie Murphy, Michael Dante, Linda Lawson.Arizona Raiders (El renegado de Arizona). 1965. 88 minutos. Technicolor. Techniscope. Admiral (Columbia). Audie Murphy, Michael Dante, Gloria Talbott, Ben Cooper.40 Guns to Apache Pass. 1967. 95 minutos. Eastmancolor. Admiral (Columbia). Audie Murphy, Laraine Stephens, Michael Burns.English-Spanish dictionary of western films > Witney, William N.
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25 paper
1. газета; журналbogus paper — газета — призрак
2. лист бумаги3. документsham paper — подложный, фальшивый документ
falsified paper — подложный, фальшивый документ
4. бумажные деньги5. пакетpaper bag — пакет; бумажный мешок
6. статья; научный докладinvited paper — заказная статья; заказной доклад
7. обои8. папье-машеcases, stands, tea-boards all of paper finely varnished and painted — коробки, подставки, чайные подносы из папье-маше, искусно разрисованные и покрытые лаком
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antique paper — бумага с грубой поверхностью, имитирующая старинную бумагу ручной выделки; бумага с матовой отделкой
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baryta paper — баритированная бумага, баритовая бумага
bastard paper — грубая бумага; серая бумага; грубая обёрточная бумага
bible paper — словарная бумага, библьдрук
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bill paper — бумага для изготовления денежных знаков и других документов строгой отчётности
blotting paper — промокательная бумага; впитывающая бумага
blueprint paper — светокопировальная бумага, бумага для изготовления синих копий, синька
board paper — часть форзаца, приклеиваемая к переплётной крышке
body paper — подложка, субстрат; бумага-основа
paper fff transparency — бумага — пленка
16. бумага для склеивания корешков блоков17. печатная бумага, бумага для печатания книг18. типографская бумагаboxed paper — бумага, уложенная или упакованная в коробку
brownprint paper — светокопировальная бумага, бумага для изготовления коричневых копий
calendered paper — каландрированная бумага, глазированная бумага, лощёная бумага, сатинированная бумага
calf paper — бумага, имитирующая телячью кожу
capsule-carrying paper — копировальная бумага с покрытием, содержащим химический реагент в микрокапсулах
carbonless paper — копировальная бумага, не содержащая пигмента, самокопирующая бумага
chattel paper — бумага, удостоверяющая имущественный интерес
19. чертёжная бумага низкого качестваbutcher paper — кровенепроницаемая бумага; толстый пергамент
20. обложечная бумагаEnglish-finish paper — глазированная, сатинированная бумага
21. бумага, испорченная при изготовленииwood-pulp paper — бумага, изготовленная из древесной массы
22. наружные листы пачки бумаги23. бумага машинного мелованияpaper web — лента бумаги, бумажная лента; бумажный рулон
24. мелованная бумага с повышенным лоскомchroma paper — высококачественная мелованная бумага, бумага высокой степени мелования
chromo paper — бумага, имитирующая хромовую кожу
clay-coated paper — бумага, покрытая слоем каолина
closely made paper with moderate finish — бумага с сомкнутой поверхностью и умеренным каландрированием
coarse paper — грубая бумага, шероховатая бумага, бумага с грубой поверхностью
coated paper — мелованная бумага; бумага с покрытием
coated free-sheet paper — мелованная бумага, не содержащая древесной массы
coated groundwood paper — мелованная бумага, содержащая древесную массу
coordinate paper — бумага с координатной сеткой, миллиметровая бумага
corn raw paper — бумага-основа для корнпапира, бумага-основа для зернёной бумаги
cross-section paper — бумага с координатной сеткой, миллиметровая бумага
cut sized paper — нарезанная бумага, бумага, разрезанная на листы канцелярского формата
Day-glo fluorescent paper — бумага дневного свечения, люминесцентная бумага
25. узорчатая бумага26. чертёжная бумага; рисовальная бумагаdeveloping paper — фотографическая бумага, фотобумага
diazo paper — диазотипная бумага, диазобумага
dielectric paper — изоляционная бумага, диэлектрическая бумага
dielectric coated paper — бумага, покрытая слоем диэлектрика
diffusion-transfer negative paper — негативная бумага, применяемая при диффузионном способе переноса изображения
27. прокладочная бумагаBible paper — библьдрук, особо тонкая непрозрачная бумага
28. промокательная бумагаsamurai commercial paper — коммерческая бумага "самурай"
29. эстампная бумага, бумага для художественной печати30. глазированная бумага; мелованная бумага31. конвертная бумагаoil tracing paper — бумага — основа для чертежной кальки
32. обёрточная бумагаextra-supercalendered paper — глазированная бумага высшего качества, суперкаландрированная бумага
fanfold paper — бумага, сфальцованная гармошкой
33. филигранная бумага, филигрань; бумага с водяными знаками34. тонкая бумага с прозрачным узором35. бумага с клеевым желатиновым слоем36. пигментная бумагаglass paper — наждачная бумага; бумага из стекловолокна
37. атласная бумагаglazed imitation paper — тонкая прочная глазированная бумага, имитирующая пергамент
38. «золотая» бумага39. бумага, окрашенная бронзовой краскойgraph paper — бумага с координатной сеткой, миллиметровая бумага
40. невыдержанная бумага41. свежевыработанная бумага; неотлежавшаяся бумагаhand-made paper — бумага ручного производства, бумага ручного отлива
hard paper — плотная бумага; картон
heat seal paper — бумага, приклеивающаяся при нагреве
heavy paper — плотная бумага, бумага с большой объёмной массой
hotmelt coated paper — бумага с покрытием, нанесённым из расплава
illustration printing paper — иллюстрационная бумага, бумага для печатания иллюстраций
image bearing paper — запечатанная бумага; бумага, несущая изображение
42. импрегнированная бумагаto rule lines on paper, to rule paper — линовать бумагу
43. изоляционная пропиточная бумагаone-side art paper — бумага, мелованная с одной стороны
metal base paper — бумага — основа для металлизирования
44. ротаторная бумага45. бумага для множительных машинIndian paper — бумага из волокон бамбука; тонкая печатная бумага
Indian Oxford paper — словарная бумага, библьдрук
46. японская бумага, японский пергамент47. имитация японской бумагиjob paper — контрольный лист ; приправочный лист
label paper — этикеточная бумага, бумага для печатания этикеток
laminated paper — многослойная бумага; ламинированная бумага
waxed paper — вощанка, вощёная бумага
48. форзацlegal paper — бумага формата 33?40,7 см
letter paper — почтовая бумага формата 25,4?40,7 см
light-weight paper — бумага с малой плотностью; неплотная бумага
49. цветная обложечная бумага50. форзацная бумага51. бумага для склеивания корешковlinty paper — бумага, пылящая при печатании
woodfree paper — бумага, не содержащая древесной массы
52. неплотная бумага53. свободная бумагаmachine-glazed paper — бумага, глазированная с одной стороны
metal paper — металлизированная бумага; фольга; станиоль
54. металлизированная бумага; фольга; станиоль55. металлописная бумагаmica paper — бумага, покрытая слюдой, слюдяная бумага
mill-conditioned paper — бумага, акклиматизированная на фабрике
mill-tinted paper — бумага фабричной окраски; бумага, окрашенная в массе
negative paper — негативная бумага, фотобумага для получения негативов
rag paper — бумага, содержащая хлопчатобумажное тряпье
paper waste — бумажный брак; макулатура; отходы бумаги
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26 Cayley, Sir George
SUBJECT AREA: Aerospace[br]b. 27 December 1773 Scarborough, Englandd. 15 December 1857 Brompton Hall, Yorkshire, England[br]English pioneer who laid down the basic principles of the aeroplane in 1799 and built a manned glider in 1853.[br]Cayley was born into a well-to-do Yorkshire family living at Brompton Hall. He was encouraged to study mathematics, navigation and mechanics, particularly by his mother. In 1792 he succeeded to the baronetcy and took over the daunting task of revitalizing the run-down family estate.The first aeronautical device made by Cayley was a copy of the toy helicopter invented by the Frenchmen Launoy and Bienvenu in 1784. Cayley's version, made in 1796, convinced him that a machine could "rise in the air by mechanical means", as he later wrote. He studied the aerodynamics of flight and broke away from the unsuccessful ornithopters of his predecessors. In 1799 he scratched two sketches on a silver disc: one side of the disc showed the aerodynamic force on a wing resolved into lift and drag, and on the other side he illustrated his idea for a fixed-wing aeroplane; this disc is preserved in the Science Museum in London. In 1804 he tested a small wing on the end of a whirling arm to measure its lifting power. This led to the world's first model glider, which consisted of a simple kite (the wing) mounted on a pole with an adjustable cruciform tail. A full-size glider followed in 1809 and this flew successfully unmanned. By 1809 Cayley had also investigated the lifting properties of cambered wings and produced a low-drag aerofoil section. His aim was to produce a powered aeroplane, but no suitable engines were available. Steam-engines were too heavy, but he experimented with a gunpowder motor and invented the hot-air engine in 1807. He published details of some of his aeronautical researches in 1809–10 and in 1816 he wrote a paper on airships. Then for a period of some twenty-five years he was so busy with other activities that he largely neglected his aeronautical researches. It was not until 1843, at the age of 70, that he really had time to pursue his quest for flight. The Mechanics' Magazine of 8 April 1843 published drawings of "Sir George Cayley's Aerial Carriage", which consisted of a helicopter design with four circular lifting rotors—which could be adjusted to become wings—and two pusher propellers. In 1849 he built a full-size triplane glider which lifted a boy off the ground for a brief hop. Then in 1852 he proposed a monoplane glider which could be launched from a balloon. Late in 1853 Cayley built his "new flyer", another monoplane glider, which carried his coachman as a reluctant passenger across a dale at Brompton, Cayley became involved in public affairs and was MP for Scarborough in 1832. He also took a leading part in local scientific activities and was co-founder of the British Association for the Advancement of Science in 1831 and of the Regent Street Polytechnic Institution in 1838.[br]BibliographyCayley wrote a number of articles and papers, the most significant being "On aerial navigation", Nicholson's Journal of Natural Philosophy (November 1809—March 1810) (published in three numbers); and two further papers with the same title in Philosophical Magazine (1816 and 1817) (both describe semi-rigid airships).Further ReadingL.Pritchard, 1961, Sir George Cayley, London (the standard work on the life of Cayley).C.H.Gibbs-Smith, 1962, Sir George Cayley's Aeronautics 1796–1855, London (covers his aeronautical achievements in more detail).—1974, "Sir George Cayley, father of aerial navigation (1773–1857)", Aeronautical Journal (Royal Aeronautical Society) (April) (an updating paper).JDS -
27 Griffith, Alan Arnold
[br]b. 13 June 1893 London, Englandd. 13 October 1963 Farnborough, England[br]English research engineer responsible for many original ideas, including jet-lift aircraft.[br]Griffith was very much a "boffin", for he was a quiet, thoughtful man who shunned public appearances, yet he produced many revolutionary ideas. During the First World War he worked at the Royal Aircraft Factory, Farnborough, where he carried out research into structural analysis. Because of his use of soap films in solving torsion problems, he was nicknamed "Soap-bubble".During the 1920s Griffith carried out research into gas-turbine design at the Royal Aircraft Establishment (RAE; as the Royal Aircraft Factory had become). In 1929 he made proposals for a gas turbine driving a propeller (a turboprop), but the idea was shelved. In the 1930s he was head of the Engine Department of the RAE and developed multi-stage axial compressors, which were later used in jet engines. This work attracted the attention of E.W. (later Lord) Hives of Rolls-Royce who persuaded Griffith to join Rolls-Royce in 1939. His first major project was a "contra-flow" jet engine, which was a good idea but a practical failure. However, Griffith's axial-flow compressor experience played an important part in the success of Rolls-Royce jet engines from the Avon onwards. He also proposed the bypass principle used for the Conway.Griffith experimented with suction to control the boundary layer on wings, but his main interest in the 1950s centred on vertical-take-off and -landing aircraft. He developed the remarkable "flying bedstead", which consisted of a framework (the bedstead) in which two jet engines were mounted with their jets pointing downwards, thus lifting the machine vertically. It first flew in 1954 and provided much valuable data. The Short SC1 aircraft followed, with four small jets providing lift for vertical take-off and one conventional jet to provide forward propulsion. This flew successfully in the late 1950s and early 1960s. Griffith proposed an airliner with lifting engines, but the weight of the lifting engines when not in use would have been a serious handicap. He retired in 1960.[br]Principal Honours and DistinctionsCBE 1948. FRS 1941. Royal Aeronautical Society Silver Medal 1955; Blériot Medal 1962.BibliographyGriffith produced many technical papers in his early days; for example: 1926, Aerodynamic Theory of Turbine Design, Farnborough.Further ReadingD.Eyre, 1966, "Dr A.A.Griffith, CBE, FRS", Journal of the Royal Aeronautical Society (June) (a detailed obituary).F.W.Armstrong, 1976, "The aero engine and its progress: fifty years after Griffith", Aeronautical Journal (December).O.Stewart, 1966, Aviation: The Creative Ideas, London (provides brief descriptions of Griffith's many projects).JDS -
28 Hedley, William
[br]b. 13 July 1779 Newburn, Northumberland, Englandd. 9 January 1843 Lanchester, Co. Durham, England[br]English coal-mine manager, pioneer in the construction and use of steam locomotives.[br]The Wylam wagonway passed Newburn, and Hedley, who went to school at Wylam, must have been familiar with this wagonway from childhood. It had been built c.1748 to carry coal from Wylam Colliery to the navigable limit of the Tyne at Lemington. In 1805 Hedley was appointed viewer, or manager, of Wylam Colliery by Christopher Blackett, who had inherited the colliery and wagonway in 1800. Unlike most Tyneside wagonways, the gradient of the Wylam line was insufficient for loaded wagons to run down by gravity and they had to be hauled by horses. Blackett had a locomotive, of the type designed by Richard Trevithick, built at Gateshead as early as 1804 but did not take delivery, probably because his wooden track was not strong enough. In 1808 Blackett and Hedley relaid the wagonway with plate rails of the type promoted by Benjamin Outram, and in 1812, following successful introduction of locomotives at Middleton by John Blenkinsop, Blackett asked Hedley to investigate the feasibility of locomotives at Wylam. The expense of re-laying with rack rails was unwelcome, and Hedley experimented to find out the relationship between the weight of a locomotive and the load it could move relying on its adhesion weight alone. He used first a model test carriage, which survives at the Science Museum, London, and then used a full-sized test carriage laden with weights in varying quantities and propelled by men turning handles. Having apparently satisfied himself on this point, he had a locomotive incorporating the frames and wheels of the test carriage built. The work was done at Wylam by Thomas Waters, who was familiar with the 1804 locomotive, Timothy Hackworth, foreman smith, and Jonathan Forster, enginewright. This locomotive, with cast-iron boiler and single cylinder, was unsatisfactory: Hackworth and Forster then built another locomotive to Hedley's design, with a wrought-iron return-tube boiler, two vertical external cylinders and drive via overhead beams through pinions to the two axles. This locomotive probably came into use in the spring of 1814: it performed well and further examples of the type were built. Their axle loading, however, was too great for the track and from about 1815 each locomotive was mounted on two four-wheeled bogies, the bogie having recently been invented by William Chapman. Hedley eventually left Wylam in 1827 to devote himself to other colliery interests. He supported the construction of the Clarence Railway, opened in 1833, and sent his coal over it in trains hauled by his own locomotives. Two of his Wylam locomotives survive— Puffing Billy at the Science Museum, London, and Wylam Dilly at the Royal Museum of Scotland, Edinburgh—though how much of these is original and how much dates from the period 1827–32, when the Wylam line was re-laid with edge rails and the locomotives reverted to four wheels (with flanges), is a matter of mild controversy.[br]Further ReadingP.R.B.Brooks, 1980, William Hedley Locomotive Pioneer, Newcastle upon Tyne: Tyne \& Wear Industrial Monuments Trust (a good recent short biography of Hedley, with bibliography).R.Young, 1975, Timothy Hackworth and the Locomotive, Shildon: Shildon "Stockton \& Darlington Railway" Silver Jubilee Committee; orig. pub. 1923, London.C.R.Warn, 1976, Waggonways and Early Railways of Northumberland, Newcastle upon Tyne: Frank Graham.See also: Stephenson, GeorgePJGR -
29 Roebuck, John
SUBJECT AREA: Chemical technology[br]b. 1718 Sheffield, Englandd. 17 July 1794[br]English chemist and manufacturer, inventor of the lead-chamber process for sulphuric acid.[br]The son of a prosperous Sheffield manufacturer, Roebuck forsook the family business to pursue studies in medicine at Edinburgh University. There he met Dr Joseph Black (1727–99), celebrated Professor of Chemistry, who aroused in Roebuck a lasting interest in chemistry. Roebuck continued his studies at Leyden, where he took his medical degree in 1742. He set up in practice in Birmingham, but in his spare time he continued chemical experiments that might help local industries.Among his early achievements was his new method of refining gold and silver. Success led to the setting up of a large laboratory and a reputation as a chemical consultant. It was at this time that Roebuck devised an improved way of making sulphuric acid. This vital substance was then made by burning sulphur and nitre (potassium nitrate) over water in a glass globe. The scale of the process was limited by the fragility of the glass. Roebuck substituted "lead chambers", or vessels consisting of sheets of lead, a metal both cheap and resistant to acids, set in wooden frames. After the first plant was set up in 1746, productivity rose and the price of sulphuric acid fell sharply. Success encouraged Roebuck to establish a second, larger plant at Prestonpans, near Edinburgh. He preferred to rely on secrecy rather than patents to preserve his monopoly, but a departing employee took the secret with him and the process spread rapidly in England and on the European continent. It remained the standard process until it was superseded by the contact process towards the end of the nineteenth century. Roebuck next turned his attention to ironmaking and finally selected a site on the Carron river, near Falkirk in Scotland, where the raw materials and water power and transport lay close at hand. The Carron ironworks began producing iron in 1760 and became one of the great names in the history of ironmaking. Roebuck was an early proponent of the smelting of iron with coke, pioneered by Abraham Darby at Coalbrookdale. To supply the stronger blast required, Roebuck consulted John Smeaton, who c. 1760 installed the first blowing cylinders of any size.All had so far gone well for Roebuck, but he now leased coal-mines and salt-works from the Duke of Hamilton's lands at Borrowstonness in Linlithgow. The coal workings were plagued with flooding which the existing Newcomen engines were unable to overcome. Through his friendship with Joseph Black, patron of James Watt, Roebuck persuaded Watt to join him to apply his improved steam-engine to the flooded mine. He took over Black's loan to Watt of £1,200, helped him to obtain the first steam-engine patent of 1769 and took a two-thirds interest in the project. However, the new engine was not yet equal to the task and the debts mounted. To satisfy his creditors, Roebuck had to dispose of his capital in his various ventures. One creditor was Matthew Boulton, who accepted Roebuck's two-thirds share in Watt's steam-engine, rather than claim payment from his depleted estate, thus initiating a famous partnership. Roebuck was retained to manage Borrowstonness and allowed an annuity for his continued support until his death in 1794.[br]Further ReadingMemoir of John Roebuck in J.Roy. Soc. Edin., vol. 4 (1798), pp. 65–87.S.Gregory, 1987, "John Roebuck, 18th century entrepreneur", Chem. Engr. 443:28–31.LRD -
30 Trevithick, Richard
[br]b. 13 April 1771 Illogan, Cornwall, Englandd. 22 April 1833 Dartford, Kent, England[br]English engineer, pioneer of non-condensing steam-engines; designed and built the first locomotives.[br]Trevithick's father was a tin-mine manager, and Trevithick himself, after limited formal education, developed his immense engineering talent among local mining machinery and steam-engines and found employment as a mining engineer. Tall, strong and high-spirited, he was the eternal optimist.About 1797 it occurred to him that the separate condenser patent of James Watt could be avoided by employing "strong steam", that is steam at pressures substantially greater than atmospheric, to drive steam-engines: after use, steam could be exhausted to the atmosphere and the condenser eliminated. His first winding engine on this principle came into use in 1799, and subsequently such engines were widely used. To produce high-pressure steam, a stronger boiler was needed than the boilers then in use, in which the pressure vessel was mounted upon masonry above the fire: Trevithick designed the cylindrical boiler, with furnace tube within, from which the Cornish and later the Lancashire boilers evolved.Simultaneously he realized that high-pressure steam enabled a compact steam-engine/boiler unit to be built: typically, the Trevithick engine comprised a cylindrical boiler with return firetube, and a cylinder recessed into the boiler. No beam intervened between connecting rod and crank. A master patent was taken out.Such an engine was well suited to driving vehicles. Trevithick built his first steam-carriage in 1801, but after a few days' use it overturned on a rough Cornish road and was damaged beyond repair by fire. Nevertheless, it had been the first self-propelled vehicle successfully to carry passengers. His second steam-carriage was driven about the streets of London in 1803, even more successfully; however, it aroused no commercial interest. Meanwhile the Coalbrookdale Company had started to build a locomotive incorporating a Trevithick engine for its tramroads, though little is known of the outcome; however, Samuel Homfray's ironworks at Penydarren, South Wales, was already building engines to Trevithick's design, and in 1804 Trevithick built one there as a locomotive for the Penydarren Tramroad. In this, and in the London steam-carriage, exhaust steam was turned up the chimney to draw the fire. On 21 February the locomotive hauled five wagons with 10 tons of iron and seventy men for 9 miles (14 km): it was the first successful railway locomotive.Again, there was no commercial interest, although Trevithick now had nearly fifty stationary engines completed or being built to his design under licence. He experimented with one to power a barge on the Severn and used one to power a dredger on the Thames. He became Engineer to a project to drive a tunnel beneath the Thames at Rotherhithe and was only narrowly defeated, by quicksands. Trevithick then set up, in 1808, a circular tramroad track in London and upon it demonstrated to the admission-fee-paying public the locomotive Catch me who can, built to his design by John Hazledine and J.U. Rastrick.In 1809, by which date Trevithick had sold all his interest in the steam-engine patent, he and Robert Dickinson, in partnership, obtained a patent for iron tanks to hold liquid cargo in ships, replacing the wooden casks then used, and started to manufacture them. In 1810, however, he was taken seriously ill with typhus for six months and had to return to Cornwall, and early in 1811 the partners were bankrupt; Trevithick was discharged from bankruptcy only in 1814.In the meantime he continued as a steam engineer and produced a single-acting steam engine in which the cut-off could be varied to work the engine expansively by way of a three-way cock actuated by a cam. Then, in 1813, Trevithick was approached by a representative of a company set up to drain the rich but flooded silver-mines at Cerro de Pasco, Peru, at an altitude of 14,000 ft (4,300 m). Low-pressure steam engines, dependent largely upon atmospheric pressure, would not work at such an altitude, but Trevithick's high-pressure engines would. Nine engines and much other mining plant were built by Hazledine and Rastrick and despatched to Peru in 1814, and Trevithick himself followed two years later. However, the war of independence was taking place in Peru, then a Spanish colony, and no sooner had Trevithick, after immense difficulties, put everything in order at the mines then rebels arrived and broke up the machinery, for they saw the mines as a source of supply for the Spanish forces. It was only after innumerable further adventures, during which he encountered and was assisted financially by Robert Stephenson, that Trevithick eventually arrived home in Cornwall in 1827, penniless.He petitioned Parliament for a grant in recognition of his improvements to steam-engines and boilers, without success. He was as inventive as ever though: he proposed a hydraulic power transmission system; he was consulted over steam engines for land drainage in Holland; and he suggested a 1,000 ft (305 m) high tower of gilded cast iron to commemorate the Reform Act of 1832. While working on steam propulsion of ships in 1833, he caught pneumonia, from which he died.[br]BibliographyTrevithick took out fourteen patents, solely or in partnership, of which the most important are: 1802, Construction of Steam Engines, British patent no. 2,599. 1808, Stowing Ships' Cargoes, British patent no. 3,172.Further ReadingH.W.Dickinson and A.Titley, 1934, Richard Trevithick. The Engineer and the Man, Cambridge; F.Trevithick, 1872, Life of Richard Trevithick, London (these two are the principal biographies).E.A.Forward, 1952, "Links in the history of the locomotive", The Engineer (22 February), 226 (considers the case for the Coalbrookdale locomotive of 1802).See also: Blenkinsop, JohnPJGR
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