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As a verb bitt means to take another turn increasing the friction to slow or adjust a mooring ship's relative movement. [1] Mooring fixtures of similar purpose: A bollard is a single vertical post useful to receive a spliced loop at the end of a mooring line. [1] A cleat has horizontal horns. [4]
Figural bollard sculptures in Geelong, Victoria Ex libris bollard outside Cambridge University Library, by Harry Gray. In Geelong, Victoria, Australia, decorative bollards, sculpted and painted by Jan Mitchell, are placed around the city to enhance the landscape as a form of outdoor public sculpture. Usually they are made of timber, minimally ...
Mooring involves (a) beaching the boat, (b) drawing in the mooring point on the line (where the marker buoy is located), (c) attaching to the mooring line to the boat, and (d) then pulling the boat out and away from the beach so that it can be accessed at all tides.
Equally impressive are mooring bollards, which were used to tether the ship to a pier. Numerous other artifacts, though, are far tinier — and many more meaningful.
The landscape in the painting is not the actual landscape as it appears at Lander's Peak but rather an ideal landscape based on nature, altered by Bierstadt for dramatic effect. [4] Bierstadt's painting hit a nerve with contemporary Americans by portraying the grandeur and pristine beauty of the nation's western wilderness.
DeLancey Walker Gill (July 1, 1859 – August 31, 1940) was an American drafter, landscape painter, and photographer.Gill first became noted for his landscape illustrations and watercolors, featuring subjects such as Native American pueblos in addition to his main focus on Washington, D.C. Characterized as detailed and meticulous in his landscapes, Gill captured views of working-class and ...
Image Details Infernal Landscape. Type: Pen and brown ink Size: 25.9 x 19.7 cm Location: Private Collection Infernal Landscape previously thought to have been made by an assistant in the workshop of medieval Dutch artist Hieronymus Bosch has been authenticated as a piece by the master himself by the Bosch Research and Conservation Project (BRCP).
Pen and brown ink with brush and brown wash, with touches of opaque white watercolor, on cream laid paper: 14.3 x 16.8 cm: Museum of Fine Arts, Boston: The drawing is related to the etching B158 : Three Men Being Beheaded: c. 1640: Pen and brown ink, corrected with white; framing lines in pen and brown ink: 15.3 x 22.6 cm: British Museum, London
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