Solo exhibitions included the Exposición Couceiro at the Lyceum, Havana, 1946. In 1965 Couceiro. Oleos de Manolo Couceiro was shown at the Galería de La Habana, and in 1974 Temas y Ensayos Couceiro. was seen at the Galería La Rampa in Havana.
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Exhibition in the Gallery of Mexican Art September 9–30. He exhibits "Oleos de Rafael Coronel" in the Gallery of Mexican Art. October. He participated on October 4 in La Bendicion. The Mexican-Israeli cultural institute gave him a degree of constancy about the 10 trees that were planted in his name. 1969\.
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It had a fixed conventional landing gear with the mainwheels carried on V-struts, using coil springs and oleos for the suspension. In January 1915 Geoffrey de Havilland piloted the D.H.1 prototype on its first flight at Hendon. Although the Renault engine left it underpowered, performance was still reasonableMason 1992, p. 40.
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He presented Oleos. Michaelsen in 1963 at the Lyceum of Havana, Cuba. In 1978 he also showed Escucha mi son - Michaelsen 21 óleos in the Galería Ho Chi Minh of the Ministerio de Justicia in Havana. In 1966, an exhibit, Works by E. Michaelsen, appeared at Main Line Gifts, San Francisco, California.
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The fixed undercarriage legs were designed specifically for vertical flight; each leg carried a pair of heat-resistant castoring wheels, while the rear undercarriage was also fitted with disc brakes. Long-stroke oleos were used to cushion vertical landings.Winchester 2005, p. 223. The robust gear was able to withstand a descent rate of 18 ft (5.5m) per second.
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The main landing gear, housed in the nacelles behind the engines, were raised and lowered hydraulically. The main landing gear shock absorbers were de Havilland manufactured and used a system of rubber in compression, rather than hydraulic oleos, with twin pneumatic brakes for each wheel.Bishop 1995, Appendix 1 The Dunlop-Marstrand anti-shimmy tailwheel was also retractable.
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Founders and New Kingdom of Granada room houses Liberators and other Spanish iconography; the round room exhibits a series of oleos from Colombia painting history. Paintings by masters Débora Arango, Fernando Botero, Enrique Grau, Ignacio Gomez Jaramillo, Santiago Martinez Delgado, Alejandro Obregón, Omar Rayo, Andrés de Santa María, and Guillermo Wiedemann are part of the Permanent Collection.
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A simulated oleo-pneumatic tricycle undercarriage comprises three jacks which can be lowered and dummy oleos extended. In a simulated oleo collapse, the rig lowers onto unobtrusive fixed supports. The main wheel assemblies are removable and a realistic braking system permits training in main wheel removal and fitting. The cockpit incorporates a simulated Mk10 Martin Baker ejection seat and associated safety devices.
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Jackson 2003, p. 9. 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.Miracle and Donaldson 2001, p. 870.
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The primary hinge for the folding wing was located in the wing root, where the rear wing spar met the cabin. The long legs of the main landing gear contained oil-and-spring shock absorbers that had a travel of 40 cm (15-3/4 inches), allowing the aircraft to land on comparatively rough and uneven surfaces; this was combined with a "pre-travel" distance of 20 cm, before the oleos began damping the landing gear shock. In flight, the main landing gear legs hung down, giving the aircraft the appearance of a long-legged, big- winged bird, hence its nickname, Storch. With its very low landing speed, the Storch often appeared to land vertically, or even backwards in strong winds from directly ahead.
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Consuegra has had personal exhibitions such as: Exposición Hugo Consuegra. Oleos, Acuarelas, Dibujos in 1953 at the Lyceum in Havana; in 1971 Hugo Consuegra. “Curriculum Vitae” at Cisneros Gallery, New York City;in 1993 An Exhibition of Contemporary Cuban Art by Hugo Consuegra at the Cantor Seinuk Group in New York City and in 1993 Hugo Consuegra, Guido Llinás, Tomás Oliva, a Reunion at the Jadite Galleries, New York City. He has formed part of many collective exhibitions such as the Salón Anual de Pintura y Escultura in 1946 and 1947 at the National Museum of Fine Arts of Havana; in 1962 3éme Biennale de Paris at Musée d’Art Moderne de la Ville de Paris, Paris, France; in 1969 Maestros Hispánicos de Hoy in the Museo de Bellas Artes de Cadiz, Spain; in 1987 Abstract Visions, in Museum of Contemporary Hispanic Art in New York City; and in 1997 Pinturas del Silencio at the Galería La Acacia in Havana.
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