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A well-illustrated look at shipboard ornamentation through the ages -- from charging ram heads on ancient Greek and Roman war-galleys to vintage Elizabethan galleons and Lord Nelson's Victory, built in 1765. Over 420 illustrations.
Figureheads — those magnificent carvings that once adorned the prows of early sailing vessels — are the focus of this intriguing coloring book. Twenty-seven illustrations of these splendid embellishments depict the figure of a sailor ("Jolly Jack Tar"), the warrior chief "Tecumseh," Eurydice, a Scottish soldier of the Blackwatch regiment, and many others.
Bonded Leather binding
The fascinating and illustrated story behind the warship figureheads on display at The Box, Plymouth.
For over three centuries, New Englanders have set sail in search of fortune and adventure--yet death lurked on every voyage in the form of storms, privateers, disease and human error. In hope of being spared by the sea, superstitious mariners practiced cautionary rituals. During the winter of 1779, the crew aboard the "Family Trader" offered up gin to appease the squalling storms of Neptune. In the 1800s, after nearly fifty shipwrecks on Georges Bank between Cape Cod, Massachusetts, and Nova Scotia, a wizard paced the coast of Marblehead, shouting orders out to sea to guide passing ships to safety. As early as 1705, courageous settlers erected watch houses and lighted beacons at Beavertail Point outside Jamestown, Rhode Island, to aid mariners caught in the swells of Narragansett Bay. Join Robert A. Geake as he explores the forgotten traditions among New England mariners and their lives on land and sea.
The first figureheads that were carved to represent the names of British warships appeared during the reign of Henry VIII; the last ones were carved in the early years of the twentieth century. During the intervening three hundred and fifty years it is estimated that some 5000 ships of the Royal Navy carried a figurehead of some description. This book follows the development of these diverse carvings, examining how the figurehead carvers interpreted the names and the symbolism incorporated in their designs. Lavishly illustrated with much previously unpublished material, the book explores the wide range of subjects that were represented.
This book is a full-color catalogue raisonne interprets the distinctive furniture made by John Shearer, one of the most accomplished and intriguing furniture makers during the post-Revolutionary period. Shearer emigrated from Scotland in the late 18th century and retained loyalist sympathies throughout his life, evidenced by the imagery and inscriptions sympathetic to various British causes_such as the suppression of the Irish rebellion in 1798 and the British victory in the Battle of Trafalgar in 1805_that he worked into his furniture. Davison provides insight into the furniture's appeal to Anglo-American patrons, not secret loyalists, but men still culturally tied to Great Britain. Shearer's pieces are scattered among various collections, and many of them have been identified only in the last 25 years. This catalog is the only work in which all of Shearer's known pieces of furniture are presented in a single volume.
This book is a detailed comparative study of the decorative work figurehead, topside ornamentation and stern gallery design carried by the ships of the major maritime states of Europe in the zenith of the sailing era. It covers both warships and the most prestigious merchant ships, the East Indiamen of the great chartered companies. The work began life in the year 2000 when the author was commissioned to carry out research for an ambitious project to build a full-size replica of a Swedish East Indiaman, which produced a corpus of information whose relevance stretched way beyond the immediate requirements of accurately decorating the replica.In tracking the artistic influences on European ship decoration, it became clear that this was essentially the story of the baroque style, its dissemination from France, and its gradual transformation into distinct national variations in Britain, the Netherlands, Denmark and Sweden. It is an inherently visual subject and the book illustrates developments with numerous photographs of contemporary ship models, paintings and plans, as well as the author's own interpretive illustrations of details.As the first major work on the topic for nearly a century, it will be of obvious appeal to ship modellers and historians, but with comparative examples drawn from architecture and sculpture, it also makes a broader contribution to the history of the applied arts.