View allAll Photos Tagged uniquely
A uniquely made mosaics pendants with whimsical swirls and drops of gemstones. One side of the pendant was heavily weave to add interest and drama. Each drop was finely crafted with different weave, pattern and design but still compensate the design of main focal. The combination of Vesuvianite, Mandarin Garnet, Amethyst, Lemon Quartz and Swiss Blue Topaz really harmonious and bring magic touch to the pendant.
I use no soldering technique and just greatly weave and wrap each piece with various gauges of fine and sterling silver.
We love the unique look of hand pressed block prints and their ability to capture the style and feel of honest hand made goods. These rough stich organic cotton napkins have been block printed with our original hand carved Mason Jar pattern. We only use the highest quality fabric inks that are sure to stand up to the everyday wear and tear of your kitchen. Whether throwing a diner party or just grabbing a quick bite to eat, these napkins will make even fast food fancy.
Breakers at Beaver Tail, Narragansett Bay - 1894
William Trost Richards (American, 1833 - 1905)
Richards came of age when landscape painting carried the religious, nationalist, and didactic conviction of the American people's unique destiny in a new world. During the initial twenty years of his career, Richards responded by painting beautifully crafted, meticulously detailed, and handsomely conceived landscape subjects, such as In the Adirondack Mountains (1857; Saint Louis Art Museum) and In the Woods (1865; Brooklyn Museum of Art). Following his second sojourn in Europe (1866-67), the ship on which Richards was returning to America nearly foundered during a storm. The experience left a deep impression on him, and thereafter the artist increasingly turned his attention to coastal and marine subjects.
Richards interpreted his sea subjects as either emblems of comforting tranquility, such as “On the Coast of New Jersey” (1883; Corcoran Gallery of Art, Washington, D.C.) or as dynamic, at times cataclysmic, essays on nature's sublime character. “Breakers at Beavertail” exemplifies more the dynamic aspect of Richards's vision. The subject is at the southernmost part of Conanicut Island, a rocky knuckle of earth in Narragansett Bay where Richards built a family home named Gray Cliff. He loved the site and painted it on several occasions. (1) In the New Britain picture, Richards focused intently on shore, sea, and sky. There is nothing anecdotal in or about the images; only the essence of the artist's direct and spontaneous sensory experience is committed to canvas. Richards used a muted reduced palette, a facile yet frugal draftsmanship, and, as always, a marvelously articulate technique to define the powerful expressive elements of his cogent artistic vision. Employing an economy of means to achieve classic expressive ends is a hallmark of Richards's career that is quite thoroughly manifest in “Breakers at Beavertail”.
William Trost Richards was a Philadelphia native who began his career designing and illustrating ornamental metalwork. His career as a landscape and marine painter developed in the studio of the versatile German-trained immigrant Paul Weber. Under Weber's tutelage Richards, along with William Stanley Haseltine, refined his precocious talent and gained early recognition from the Pennsylvania Academy of the Fine Arts, where he first exhibited at age nineteen and was elected an Academician the following year. In New York in 1854 Richards met John F. Kensett, Sanford Gifford, Frederic Church, and Jasper Cropsey. Firmly committed to the artist's life, Richards embarked on an 1855-56 study tour to Europe with Haseltine and Alexander Lawrie. He returned to Philadelphia a skilled, conscientious student of nature devoted to the precepts of the Hudson River School painters and was soon inspired by John Ruskin's and the Pre-Raphaelites' literal fidelity to nature.
Richards saw his career mature quickly: the National Academy of Design made him an honorary member (1862), and he was unanimously elected to the Association for the Advancement of Truth in Art (1862). In 1871 he became a full Academician at the National Academy and in 1874 joined the American Watercolor Society. All of this occurred in the midst of a frenetic and highly acclaimed schedule of participation in national and international exhibitions. Richards was a medalist at the 1876 Philadelphia Centennial Exhibition, won the 1885 Temple Prize from the Pennsylvania Academy of the Fine Arts, and was awarded a bronze medal at the 1889 Paris Universal Exposition. Richards made his reputation as a keen observer of nature and a sophisticated interpreter of the American landscape. By the 1860s, however, he had developed a strong interest in coastal and marine motifs, which matured into the principal subjects of the last twenty-five years of his career. The patronage of Philadelphia collector George Whitney, among others, combined with his national success, allowed Richards to travel to Europe almost yearly and to maintain houses in Germantown and, later, Coatesville, Pennsylvania, and Newport, Rhode Island. While Richards lived to see his work lose popularity in the midst of the development of Barbizon painting and Impressionism, he nonetheless retained an appreciative audience and respected position in America's cultural community. Before his death the Pennsylvania Academy of the Fine Arts awarded him its gold medal of honor.
Lure of the Sea: Masterworks of American Coastal Art
Friday, March 21, 2025 — Sunday, July 20, 2025
To me the sea is a continual miracle, The fishes that swim—the rocks—the motion of the waves—the ships with men in them, What stranger miracles are there? -Walt Whitman, Miracles (1856)
For centuries, the American coastline has served as a wellspring of artistic inspiration and a site of personal enterprise that has helped define the national spirit. In the eighteenth and nineteenth centuries, as industrialization, expanding railroad networks, and westward migration dramatically reshaped America’s interior landscape, its coastal regions emerged as vital to the development of commerce, industry, and cultural exchange. Access to the sea offered individuals who invested in small craft an entrepreneurial opportunity. Likewise, bustling port cities drove maritime trade, shipbuilding, and fishing industries, while a growing naval presence underscored the sea’s strategic significance. At the same time, artists were drawn to the shore’s dramatic beauty, dynamic harbors, and poetic spaces of leisure and repose.
Lure of the Sea: Masterworks of American Coastal Art traces nearly 200 years of artistic engagement with the maritime world. Featuring more than eighty paintings, works on paper, and sculptures from 1830 to today, the exhibition considers the profound influence of coastal environments on American art and culture. Distinct themes examine the emergence of seascapes and emotionally imbued expressions of nature’s power, beauty, and allure, as well as the tradition of maritime art in depictions of historical vessels, events, and locales. Spanning diverse artistic styles and moments in time, Lure of the Sea explores the coast’s relationship to American industry, leisure, literature, and the emergence of artist colonies that coalesced along the shoreline, inspired by the interplay of land and sea.
This exhibition is drawn from the collection of the New Britain Museum of American Art and commemorates the tenth anniversary of the Museum’s landmark gift of coastal and marine art by collectors and longstanding supporters, Charles J. and Irene Hamm. Featuring masterworks from their donation alongside other works in the Museum’s distinguished holdings, Lure of the Sea illuminates the American coast as a realm of boundless artistic and human pursuit.
---------------------------
For centuries, the coastal landscape has served as a vibrant arena in which American life, industry, and creativity have flourished. Lure of the Sea: Masterworks of American Coastal Art features nearly one hundred paintings, works on paper, and sculptures that explore the profound impact of coastal environments on the nation’s artistic and cultural development, as well as its collective imagination and identity.
Lure of the Sea explores broad themes, including the evolution of American “marine” art, from its traditional depictions of historical maritime vessels, events, and locales, to emotionally imbued expressions of nature’s power, beauty, and allure. The exhibition considers the coast’s relationship to industry, leisure, and the emergence of artist colonies that coalesced along the shoreline, inspired by the interplay of land and sea.
Spanning 150 years of creative output by leading American artists, including William Bradford, Alfred Thompson Bricher, Frederick Judd Waugh, William Partridge Burpee, Childe Hassam, Rockwell Kent, and N.C. Wyeth, Lure of the Sea offers invaluable insights into American life as it has unfolded along the maritime frontier, inviting viewers to engage deeply with the artistic legacy shaped by the sea.
This exhibition is drawn exclusively from the NBMAA’s collection and commemorates the tenth anniversary of the Museum’s landmark gift of coastal and marine art by collectors and longstanding supporters, Charles J. and Irene Hamm.
For over four decades, Charles and Irene Hamm dedicated their time and resources to developing a renowned art collection focused on American coastal art. The Hamms’ labor of love was last displayed at the New Britain Museum of American Art in the 2015 exhibition Over Life’s Waters: The Coastal Collection of Charles and Irene Hamm. Each work in the collection has been handpicked by Charles and Irene Hamm. When forming their coastal art collection, the couple decided they would collect works by American painters, alive or dead, in any medium, of any time, which attracted their eyes and emotions. Unlike most collectors who decide to focus on specific periods or styles, the Hamms have embraced painters working from the early 19th century right through to the present day in an exceptionally wide variety of media and manners.
To state that the Hamms have been passionate about the sea would be both accurate and revelatory. Charles was born in Brooklyn Heights, a stone’s throw from New York’s East River. Irene’s life as a native Floridian was shaped by her proximity to the Atlantic Ocean. Together, the Hamms have sailed along several continents and enjoyed owning a series of both sail and power boats. Their Connecticut residence on the Long Island Sound was designed to display their coastal art collection and maximize their views and feeling of connection to the water.
artdaily.com/news/180280/NBMAA-Presents--Lure-of-the-Sea-...
www.seegreatart.art/masterworks-of-american-coastal-art/
www.newbritainherald.com/news/nbmaa-to-present-masterwork...
Unique spider web necklace with a silver rose crowned by two skulls. Hauntingly gothic piece, with an tragic beauty that will last beyond the grave!
size: 2.55" inches high
Per quarta ocasió consecutiva, aquest passat dissabte, la Jove de Sitges visitava la Tarraco Arena Plaça per participar en el XXVII Concurs de Castells de Tarragona. Classificats prèviament en 29a posició, empatats amb els Castellers de Berga, la Jove ha finalitzat el Concurs en 23è posició del global. Pensant només en la jornada disputada el dissabte, en 11a posició de 19 colles.
Situada gairebé al cercle central de la plaça, el programa de la tarda era clar: repetir la diada de Santa Tecla sense cap sorpresa negativa. Actuant en el segon grup de colles, amb l’espera que implica amb tots els castells en solitari i la primera ronda conjunta, el castell de sortida triat va ser el 5de7. Amb algun canvi respecte la diada prèvia, el castell es va resoldre amb la mateixa confiança i facilitat mostrada a Sitges. Així doncs, l’estructura es descarregava sense problemes i servia d’escalfament i de posada en escena, per encarar el gran castell del dia: la torre de 7.
Si un indret havia de donar bons presagis per a la torre, era precisament aquest, on s’havia descarregat la segona torre de 7 de l’historial, el 2012. Tot i això, els nervis eren presents. La construcció va pujar ben decidida, un pèl tremoladissa però sense veure risc de caiguda, i s’anava sentint com dues altres construccions simultànies, queien al nostre volant. Potser aquest fet va propiciar el bon desenllaç de la nostra, que va fer tensar tots els músculs de tothom. La Jove descarregava la tercera torre del 2018. I encara queden dues actuacions més a les nostres cases: Ribes i Sitges.
Ja a la tercera ronda, el castell que fa pujar més gent a les files sitgetanes: el 7de7. Tot i algun petit desencaix en pisos de segons i terços, no va comportar cap sobresalt a la Jove, aconseguint descarregar els 3 castells plantejats per a una diada d’alta pressió per les circumstàncies de la plaça.
Amb dues rondes més encara per a les colles amb castells pendents, ja fos per caigudes, intents desmuntats o per només tenir dos castells assolits a les 3 primeres rondes, a la Jove només li calia esperar el moment dels pilars de comiat, on va lluir un total de 5 pilars: un pilar de 5 central acompanyat de 2 pilars de 4 a cada costat.
Posteriorment, els castellers i castelleres van celebrar la onzena posició a la zona de canalla, sent la darrera colla a sortir. Un cop enfilats als busos, un sopar al GER i una mica de festa van servir per tancar el nostre particular dia de la festa dels castells.
Acabada aquesta edició del Concurs de Castells, la Colla Jove de Castellers de Sitges ha estat una de les 20 úniques colles que no ha caigut en cap castell durant el certamen, d’un total de 42 colles entre els 3 dies. I una de les dotze que no va necessitar tampoc cap intent desmuntat.
Unique Hot Selling Loose Split Joint Plaid Lapel Sweaters www.tidebuy.com/product/Unique-Hot-Selling-Loose-Split-Jo...
We love the unique look of hand pressed block prints and their ability to capture the style and feel of honest hand made goods. This Organic cotton flour sack towel has been block printed with our original hand carved Gold Fish and sea weed pattern. Ribbon embellishments line the bottom. We only use the highest quality fabric inks that are sure to stand up to the everyday wear and tear of your kitchen. Whether drying dishes or just adding a touch of originality, this towel is sure to do the trick.
this unique wave ring has originally been made by hand then casted and plated in oxidized silver
it is currently only available in size 6 but will be making other sizes in the future
if you have any other questions about my jewelry you can also contact me through etsy
thank you!
Blog: www.miksmedia.net
Facebook: www.facebook.com/miksmedia
Twitter: www.twitter.com/miksmedia
Today is not a good day to venture out and take pictures. It is bloody freezing!! Low temperatures combined with pretty strong wind make it feel like -42 degrees Celsius... I guess it was lucky I took these yesterday.. Hope you enjoy little snowflakes, though I would prefer them to be blooming flowers instead...
It was rather unique to touch the salt formed here - The Rann is famous for its marshy salt flats which become snow white after the shallow water dries up each season before the monsoon rains.
The Great Rann of Kutch, Bhuj, Gujarat
These unique frogs live in parts of Central and South America. They are brightly colored in red, yellow or orange and often they have bold stripes or crossbars. Very small in size (reaching only 2-5 cm in length) and weighting only a few grams, they seem helpless. However, their skin glands produce one of the strongest toxins in the animal world. The name was given by the American scientists John Delly and Bernard Whitcup who carried out several tests to determine the action of this powerful toxin.
Most amphibian skin toxins are complex nitrogenous compounds that affect the victim in different ways. Some can cause local irritation only, others provoke hallucinations or act as vasoconstrictors, ones that contract blood vessels. There are also neurotoxins, which affect the nervous system. Batrachotoxin, in particular, is a nerve poison. Only a drop of this substance that has entered the victim’s body can block the transmission of nerve impulses and the heart may stop functioning.
The habitat of arrow-frogs is restricted to warm parts of Latin America, where the humidity level is very high, about 80%. They are mostly arboreal animals climbing trees very easily by virtue of their adhering disks at the end of the fingers. They seldom go to water pools except for reproduction. Poison dart frogs lay their eggs in lukewarm pools of water at the brim of leaves, where the eggs are in a secure place, high in the canopy.
We are focused on nurturing skilled designers with a capacity for critical thinking. We have developed a unique curriculum that fosters work across disciplines, where design is integrated with expertise from other fields With one of the lowest faculty to student ratios (1:12) in the United States.
This unique set of traffic lights on Fellmongers Road in the Geelong suburb of Breakwater was installed in the 1990s to allow horses to be ridden between Geelong Racecourse and the off-track stables complex located at Haworth Court, with special push buttons and lights being installed for the use of jockeys. A safety audit in 2007 saw the Geelong Racing Club discontinue the use of the traffic lights, with horses being moved by horse float, until the replacement of the stables by an on-track complex in 2015.
The 1,260-acre Muddy Mountain Environmental Education Area (EEA) is a popular recreation area south of Casper. The two-mile Interpretive Nature Trail connects the Lodgepole and Rim campgrounds. It has 28 interpretive signs and is handicap accessible. Two overlooks located on the trail provide a unique view of the valley below. Travel along this trail is limited to hikers only.
Opportunities for watching wildlife are favorable as forest, sagebrush, and grasslands provide habitat for blue grouse and fox, as well as deer, antelope, and elk.
The 700-acre natural area is restricted to non-motorized recreational activities such as mountain biking, hiking, and primitive camping. The trail system inside the natural area accommodates hikers, mountain bikers, and horseback enthusiasts. A small parking area is located on the northwest corner of the boundary just east of Rim Campground. Two additional pedestrian gates are located along the western boundary.
The remainder of the EEA consists of multi-use trails and a general recreation area. The Corral Loop Road provides motorized access to most of this area. The multi-use trail can be used by snowmobiles in the winter and ATVs in the summer. Primitive, dispersed camping with no facilities is allowed in this area.
The 170-acre developed area meets ADA accessibility standards and includes the Rim and Lodgepole campgrounds which have a combined total of 23 campsites with picnic tables, fire rings, tent pads and trash receptacles. Potable water is available near the entrance to Lodgepole Campground. Vault toilets are located in each campground and at the trailhead to the Interpretive Nature Trail. Prices for camping: $7/night/site, $3/extra vehicle/night. Access Pass and Senior Pass holders receive half price. No charge for day use.
Access in the winter is limited to snowmachine/snowmobile via designated snowmobile trails by Wyoming State Trails. No full-size vehicular access is available in the winter/spring. Contact the Casper Field Office on status of road.
DIRECTIONS
From Casper, travel approximately 9 miles south on Wyoming Highway 251 to the top of Casper Mountain, where the state road ends but continues on as County Road 505. Continue for approximately 3 miles until the pavement ends, then continue an additional 2 miles to the intersection with Circle Drive (Natrona County Road 505). Continuing straight, follow the BLM gravel road for another 4.5 more miles to the EEA.
LATITUDE / LONGITUDE
42.679903, -106.263725
PHONE 307-261-7600
EMAIL casper_wymail@blm.gov
ADDRESS Casper Field Office
2987 Prospector Drive
Casper, WY 82604
www.blm.gov/visit/muddy-mountain-environmental-education-...
BLM photo by Stephanie Connolly
Mitch “The Dragon” Chilson, from Singapore won the superfight bout against Zhang ‘The Lightning’ Jing Xong. Here, Mitch took a breather for a 5 minutes pause after he was kneed in the groin.