..... OR Mermaids & Sailors .... They go well together, no matter in which order I place them. These are two of my favorite subjects that I pursue in Art, Literature, Film, Music, Antiques & Collectibles and the Decorative Arts. I will be sharing things here from my collections and other items from the internet that I find appealing to me.
..... I also enjoy all things related to the "Seven Seas", which, of course is the domain of both, Mermaids and Sailors. This may include oceans, islands, ports & harbors, beaches, sea creatures, and classic sailing ships, to name a few.
..... So, relax and enjoy the sometimes wild, but always wet, world of Mermaids & Sailors !!
* "Real Sailors Have a Moustache and Smoke A Pipe" *
** "Once A Sailor, Always A Sailor" **
*** "Real Mermaids Do Not Wear Bras !!" ..... [Therefore, occasional female nudity will appear here !] ...Sailor Gil, June 2011 ***
Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
At the end of the Edo Period (1603–1867), Hiroshige, Kuniyoshi and Kunisada were the three best representatives of the Japanese color woodcut in Edo (capital city of Japan, now Tokyo). However, among European and American collectors of Japanese prints, beginning in the late 19th and early 20th century, all three of these artists were actually regarded as rather inferior to the greats of classical ukiyo-e, and therefore as having contributed considerably to the downfall of their art. For this reason, some referred to their works as “decadent”.
Beginning in the 1930s and 1970s, respectively, the works of Hiroshige and Kuniyoshi were submitted to a re-evaluation, and these two are now counted among the masters of their art. Thus, from Kunisada alone was withheld, for a long time, the acknowledgment which is due to him. With a few exceptions, such as actor portraits (yakusha-e) and portraits of beautiful women (Bijinga), at the beginning of his career, and some series of large-size actor head-portraits near the end, it was thought that he had produced only inferior works. It was not until the early 1990s, with the appearance of Jan van Doesburg’s overview of the artistic development of Kunisada, and Sebastian Izzard’s extensive study of his work, that this picture began to change, with Kunisada more clearly revealed as one of the “giants” of the Japanese print that he was.
"Civil War - U.S.S. Ossipee Seaman - Original Unsigned CDV Photograph"
“American Civil War, authentic, original unsigned 1800s Carte-de-visite photograph featuring an ordinary seaman [Seaman Abeard” from the U.S.S. Ossipee. The unsigned photograph measures approximately 2.5 x 4 inches and is in fine condition with only slight expected signs of aging. The photograph was produced by Courrett Hermanos of Lima and has a pencil identification handwritten on the verso.”
Augusta Victoria, placed in service in 1889 and named for Empress Augusta Victoria, wife of German Emperor Wilhelm II, was the name ship of the Augusta Victoria series and the first of a new generation of luxury Hamburg America Line ocean liners. She was the first European liner with twin propellers and when first placed in service, the fastest liner in the Atlantic trade. She was also the first luxury liner at Hamburg America, introducing the concept of the “floating hotel”; she had a rococo stairhall, illuminated by a milky way of pear-shaped prisms and naked light bulbs clutched by gilded cherubs, a reception court choked by palm trees and a dark and gothic smoking room. In 1897 she was rebuilt and lengthened and in 1904 she was sold to the Imperial Russian Navy, which renamed her Kuban.