..... 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 ***
" Terrestrial Globe " … Twelve inch terrestial globe on circular rest showing magnetic meridians for 1880, prepared from observations taken 1865-1885 by Captain E.W. Creak, made by Malby and Sons, London, 1886
" Gimballed Azimuth Compass " … Dry azimuth compass, 7”, on gimbals fitted with moveable sighting line for taking azimuths, and a prismatic optical system. Made by Spencer, Browning & Co., London, 1840-1860.
CAMPBELL CLAN SAILOR! Sixth plate dag showing a youthful American sailor who sat calmly in front of a camera operated by Thomas Walsh. The young tar was taken in New York City circa 1848-1849 at one location or the other, since Walsh operated at 141 Bowery in 1848 then moved during that year to 61 Washington St. (via Dennis A. Waters Fine Daguerreotypes)
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.