06 Classic Works of Art, Marine Paintings - With Footnotes, #62

BRITISH SCHOOL, 19th century 
NAVAL ENGAGEMENT
Oils on canvas 
24 x 36 1/4 in. (65 x 92.1 cm)
Private collection

In the 18th and 19th century, English painting finally developed a distinct style and tradition again. Sir James Thornhill's paintings were executed in the Baroque style of the European Continent and William Hogarth reflected the new English middle-class temperament — English in habits, disposition, and temperament, as well as by birth. His satirical works, full of black humour, point out to contemporary society the deformities, weaknesses and vices of London life.

Portraits were, as elsewhere in Europe, most easy and most profitable way for an artist to make a living, and the English tradition continued to draw of the relaxed elegance of the portrait style developed in England by Van Dyck. By the end of the century, the English swagger portrait was much admired abroad, and had largely ceased to look for inspiration abroad.

The early 19th century also saw the emergence of the Norwich school of painters. Influenced by Dutch landscape painting and the landscape of Norfolk. It was short-lived due to sparse patronage and internal faction prominent members.

The Pre-Raphaelite Brotherhood movement, established in the 1840s, dominated English art in the second half of the 19th century. Its members concentrated on religious, literary, and genre works executed in a colorful and minutely detailed almost photographic style. More on British School, 18th & 19th century

Frederick William Scarbrough, (1860-1939)
Pool of London, with St Paul's in the distance
Watercolour 
15.0" x 23.0" 
Private collection

The Pool of London is a stretch of the River Thames from London Bridge to below Limehouse. Part of the Tideway of the Thames, the Pool was navigable by tall-masted vessels bringing coastal and later overseas goods—the wharves there were the original part of the Port of London. The Pool of London is divided into two parts, the Upper Pool and Lower Pool. The Upper Pool consists of the section between London Bridge and the Cherry Garden Pier in Bermondsey. The Lower Pool runs from the Cherry Garden Pier to Limekiln Creek. More on the Pool of London

St Paul's Cathedral, London, is an Anglican cathedral, the seat of the Bishop of London and the mother church of the Diocese of London. It sits on Ludgate Hill at the highest point of the City of London and is a Grade I listed building. Its dedication to Paul the Apostle dates back to the original church on this site, founded in AD 604. The present cathedral, dating from the late 17th century, was designed in the English Baroque style by Sir Christopher Wren. Its construction, completed in Wren's lifetime, was part of a major rebuilding programme in the City after the Great Fire of London.

The cathedral is one of the most famous and most recognisable sights of London. Its dome, framed by the spires of Wren's City churches, has dominated the skyline for over 300 years. At 365 feet (111 m) high, it was the tallest building in London from 1710 to 1967. The dome is among the highest in the world. St Paul's is the second-largest church building in area in the United Kingdom after Liverpool Cathedral. More on St Paul's Cathedral

Frederick William Scarbrough, (1860-1939), was born in the village of Boothby Pagnall near Grantham Lincolnshire in 1863 and lived in Folkingham eventually moving to Grantham. His studio was at 25 Castlegate Grantham.He died in Grantham hospital in 1945 after being taken ill in Blackpool where he was sketching ships for future paintings. he was 82 at the time.


He painted mainly in watercolour in a style similar to Charles Dixon, William Lionel Wyllie and Charles Napier Hemy. He painted sea scenes along the east coast of Britain from Scotland to Whitby and East Anglia, however it for his atmospheric paintings of busy shipping in the pool of London that he is best known. He exhibited from 1890 through to the early 20th century, settling in Lincolnshire. He continued to exhibit right up until 1939. His work is impressionistic in style, often painted in late afternoon or early morning to capture the soft quality of light and the different reflections on the water. More on Frederick William Scarbrough


 FREDERIK TUDGAY, (British 1841-1921) 
STEAMER MARGERY, c. 1872
Oil on canvas 
23 x 36 in. (58.4 x 91.4 cm) 
Private collection

The pioneering Thames paddle-steamer Margery in the Thames estuary, her decks crowded with passengers.


The cargo steamers on Loch Awe (locally known as barges) were run by various owners from time to time. The first, named S.S. Margery, was built from wood .

Delivered to the Thames as the first steam packet service on the river, between London and Gravesend. It was also the first steamship to cross the English Channel (Newhaven to Le Havre), arriving in Paris 16/3/1816. In 4/1816 it was used for passenger service on the River Seine between Elbeuf and Rouen.


Service on the Seine was not a commercial success and ended in 1818(?). French sources claim she returned to England as MARGERY; others that she was abandoned on the Seine, where her timbers lay as late as 1888. More on the paddle-steamer Margery

Frederick Tudgay (1841-1921), youngest member of and considered the most talented of the prestigious Tudgay family of marine artists, produced throughout his career an impressive body of ship portraiture. Working occasionally in collaboration with his father, John, it was Frederick's talent for portraying detail and his draftsmanlike technique that drew the attention of the maritime community.

Frederick Tudgay worked as a painter of ship interiors for the Green Shipyard in Blackwall, giving him direct access to study ship design and construction techniques. Besides his noted accuracy, his works are appealing for the strong artistic merit seen in his treatment of sea, sky and background elements.


Working in London during the last half of the 19TH Century, the Tudgays painted almost exclusively on direct commission from owners and captains, producing accurate ship portraits known for their fidelity to vessel design. Today, their works are considered important examples of British marine painting, sought after by knowledgeable collectors the world over. More on Frederick Tudgay

J. Tudgay (British, 19th century) and Frederik Tudgay (British, 1841-1921)
Battle of Heligoland, 9th May 1864 
Oil on canvas
35-1/2 x 58-3/4 in. (90.1 x 149.2 cm.)
Private collection

The Battle of Heligoland (or Helgoland) was fought on 9 May 1864, during the Second Schleswig War, between a Danish squadron led by Commodore Edouard Suenson and a joint Austro-Prussian squadron commanded by the Austrian Commodore Wilhelm von Tegetthoff. The action came about as a result of the Danish blockade of German ports in the North Sea; the Austrians had sent two steam frigates, SMS Schwarzenberg and Radetzky, to reinforce the small Prussian Navy to help break the blockade. After arriving in the North Sea, Tegetthoff joined a Prussian aviso and a pair of gunboats. To oppose him, Suenson had available the steam frigates Niels Juel and Jylland and the corvette Hejmdal.

On the morning of 9 May, the two squadrons encountered each other off the island of Heligoland, then controlled by neutral Great Britain. Tegetthoff attacked with his two frigates while the slower Prussian vessels lagged behind, unable to effectively engage the Danish warships. Tegetthoff's flagship, Schwarzenberg, bore the brunt of the Danish gunfire and caught fire three times, the last of which could not be put out quickly and forced Tegetthoff to seek shelter in the neutral waters around Heligoland. Though Denmark claimed a tactical victory in the battle, the Danes were forced to end the blockade of the German coast. An armistice came into effect three days after the Battle of Heligoland. By the time fighting broke out again in June, further Austrian warships had arrived to strengthen the Austro-Prussian naval forces, and the Danes did not seek to challenge them. More on The Battle of Heligoland

Frederick and John Tudgay (1841-1921), see below

Bernardus Johannes Blommers, (Dutch, 1845-1914)
Figures on the Beach
Oil on panel (laid down on panel)
 9.5"h x 14"w
Private collection

Bernardus Johannes (Bernard) Blommers (30 January 1845 in The Hague – 12 December 1914 in The Hague) was a Dutch etcher and painter of the Hague School.


He learned lithography early in his career, and then studied at the Hague Akademie under Johan Philip Koelman until 1868. His early paintings were mostly genre works depicting fishermen and their wives, heavily influenced by Jozef Israëls. The later works (from about 1890) are more loosely painted, although maritime and genre scenes remained the primary subject matter. His work was critically successful during his lifetime, being sought after by English, Scottish and American collectors. Blommers was also active as a teacher; among his pupils was the American painter Caroline van Hook Bean, who became his daughter-in-law in 1913. More on Bernardus Johannes

Betsy Podlach, United States
Christina (Commission)
Oil and egg tempera on linen
58”:58”
Private collection

Artist’s Statement: I am a figurative painter who paints according to certain traditions – the creation of space (vs. mimicking of space) on a flat picture plane, the use of color and space to create light (vs. mimicking of light), using the principals of abstraction to paint solid forms, compose an entire image (the whole painting), incorporate lines and curves and color and my own light coming from within the painting.

I am an American painter who considers the Italian Venetians and the american abstract expressionist painters my mentors – they are the painters whose paintings I most love, and wanted to learn from.


I of course consider Leonardo Di Vinci and Michelangelo indespensible to my attempts to create form regarding the human body. More on Betsy Podlach





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04 Classic Works of Art, Marine Paintings - With Footnotes, #60

Charles Edward Dixon, 1872 - 1934
OFF NEW BRIGHTON , 1899
Watercolour
37 x 55.5cm
Private collection

New Brighton is a seaside resort forming part of the town of Wallasey within the Metropolitan Borough of Wirral in Merseyside. Up to the 19th century, the area had a reputation for smuggling and wrecking, and secret underground cellars and tunnels are still rumoured to exist. It also had a strategic position at the entrance to the Mersey Estuary.

In 1830, a Liverpool merchant, James Atherton, purchased 170 acres (69 ha) of land at Rock Point, which enjoyed views out to sea and across the Mersey and had a good beach. His aim was to develop it as a desirable residential and watering place for the gentry.

During the latter half of the 19th century, New Brighton developed as a very popular seaside resort serving Liverpool and the Lancashire industrial towns, and many of the large houses were converted to inexpensive hotels. A pier was opened in the 1860s, More on New Brighton

Charles Edward Dixon (8 December 1872 - 12 September 1934) was a British maritime painter of the late nineteenth and early twentieth centuries, whose work was highly successful and regularly exhibited at the Royal Academy. Several of his paintings are held by the National Maritime Museum and he was a regular contributing artist to magazines and periodicals. He lived at Itchenor in Sussex and died in 1934. More on Charles Edward Dixon

John Atkinson Grimshaw,  (1836–1893)
Glasgow, Saturday Night
Oil on canvas
60 × 91 cm (23.6 × 35.8 in)
Private collection

Glasgow  is the largest city in Scotland, and third-largest in the United Kingdom. It is situated on the River Clyde in the country's West Central Lowlands. Glasgow is the fourth most visited city in the UK.

Glasgow grew from a small rural settlement on the River Clyde to become the largest seaport in Britain. Expanding from the medieval bishopric and royal burgh, and the later establishment of the University of Glasgow in the fifteenth century, it became a major centre of the Scottish Enlightenment in the eighteenth century. From the eighteenth century onwards, the city also grew as one of Great Britain's main hubs of transatlantic trade with North America and the West Indies. More on Glasgow


John Atkinson Grimshaw (6 September 1836 – 13 October 1893) was an English Victorian-era artist, a "remarkable and imaginative painter" known for his city night-scenes and landscapes.

He was born in Leeds to Mary and David Grimshaw. In 1856 he married his cousin Frances Hubbard (1835–1917). In 1861, at the age of 24, to the dismay of his parents, he left his job as a clerk for the Great Northern Railway to become a painter. He first exhibited in 1862, mostly paintings of birds, fruit and blossom, under the patronage of the Leeds Philosophical and Literary Society. He became successful in the 1870s and rented a second home in Scarborough, which became a favourite subject.



Grimshaw's primary influence was the Pre-Raphaelites. True to the Pre-Raphaelite style, he created landscapes of accurate colour and lighting, vivid detail and realism, often typifying seasons or a type of weather. Moonlit views of city and suburban streets and of the docks in London, Hull, Liverpool and Glasgow also figured largely in his art. His careful painting and his skill in lighting effects meant that he captured both the appearance and the mood of a scene in minute detail. His "paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene. More on John Atkinson Grimshaw


HAMADI MHAMED, b. 1950, Tunisia
Old-port of Bizerte
Oil on canvas
15.7 H x 23.6 W x 0.8 in
Private collection


Bizerte is known as the oldest and most European city in Tunisia. It was founded around 1100 BC by Semitic Phoenicians from Tyre. It is also known as the last town to remain under French control after the rest of the country won its independence from France. More on Bizerte

Hamadi MHAMED is a Tunisian artist born in Bizerte - Tunisia in 19/06/1950. Hamadi has a Diploma in Fine Arts from National Institute of Arts & Technology of Tunis and has worked in different fields of media publishing & interactive events from 1978 until 2011. More on Hamadi MHAMED


Montague Dawson, R.S.M.A., F.R.S.A., 1895-1973
THE PACKET DEVONSHIRE 
Oil on canvas laid down on board 
36 by 28 in., 91.4 by 71.1 cm
Private collection

The present work depicts the packet ship Devonshire. Named for the Duke of Devonshire, it was built in New York in 1848 by Westervelt & Mackey. The first packet ships were built in the eighteenth century and were designed to transport mail between Great Britain and her colonies, as well as passengers and freight. In her first year of frequent sailing between New York and London, Devonshire transported the largest number of cabin passengers ever to cross the Atlantic and garnered much attention as one of the finest examples of naval engineering. More on the  Devonshire

Montague Dawson RMSA, FRSA (1890–1973) was a British painter who was renowned as a maritime artist. His most famous paintings depict sailing ships, usually clippers or warships of the 18th and 19th centuries. Montague was the son of a keen yachtsman and the grandson of the marine painter Henry Dawson (18111878), born in Chiswick, London. Much of his childhood was spent on Southampton Water where he was able to indulge his interest in the study of ships. For a brief period around 1910 Dawson worked for a commercial art studio in Bedford Row, London, but with the outbreak of the First World War he joined the Royal Navy. Whilst serving with the Navy in Falmouth he met Charles Napier Hemy (18411917), who considerably influenced his work. In 1924 Dawson was the official artist for an Expedition to the South Seas by the steam yacht St.George. During the expedition he provided illustrated reports to the Graphic magazine.

After the War, Dawson established himself as a professional marine artist, concentrating on historical subjects and portraits of deep-water sailing ships. During the Second World War, he was employed as a war artist. Dawson exhibited regularly at the Royal Society of Marine Artists, of which he became a member, from 1946 to 1964, and occasionally at the Royal Academy between 1917 and 1936. By the 1930s he was considered one of the greatest living marine artists, whose patrons included two American Presidents, Dwight D Eisenhower and Lyndon B Johnson, as well as the British Royal Family. Also in the 1930s, he moved to Milford-Upon-Sea in Hampshire, living there for many years. Dawson is noted for the strict accuracy in the nautical detail of his paintings which often sell for six figures.

The work of Montague Dawson is represented in the National Maritime Museum, Greenwich and the Royal Naval Museum, Portsmouth. More on Montague Dawson








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05 Classic Works of Art, Marine Paintings - With Footnotes, #58

Montague Dawson, 1890 - 1973
FULL SAIL, SUNSET , circa 1950
oil on canvas
71 by 127cm., 28 by 50in
Private collection

Montague Dawson RMSA, FRSA (1890–1973) was a British painter who was renowned as a maritime artist. His most famous paintings depict sailing ships, usually clippers or warships of the 18th and 19th centuries. Montague was the son of a keen yachtsman and the grandson of the marine painter Henry Dawson (18111878), born in Chiswick, London. Much of his childhood was spent on Southampton Water where he was able to indulge his interest in the study of ships. For a brief period around 1910 Dawson worked for a commercial art studio in Bedford Row, London, but with the outbreak of the First World War he joined the Royal Navy. Whilst serving with the Navy in Falmouth he met Charles Napier Hemy (18411917), who considerably influenced his work. In 1924 Dawson was the official artist for an Expedition to the South Seas by the steam yacht St.George. During the expedition he provided illustrated reports to the Graphic magazine.

After the War, Dawson established himself as a professional marine artist, concentrating on historical subjects and portraits of deep-water sailing ships. During the Second World War, he was employed as a war artist. Dawson exhibited regularly at the Royal Society of Marine Artists, of which he became a member, from 1946 to 1964, and occasionally at the Royal Academy between 1917 and 1936. By the 1930s he was considered one of the greatest living marine artists, whose patrons included two American Presidents, Dwight D Eisenhower and Lyndon B Johnson, as well as the British Royal Family. Also in the 1930s, he moved to Milford-Upon-Sea in Hampshire, living there for many years. Dawson is noted for the strict accuracy in the nautical detail of his paintings which often sell for six figures.

The work of Montague Dawson is represented in the National Maritime Museum, Greenwich and the Royal Naval Museum, Portsmouth. More on Montague Dawson

WILLIAM CLARK, (scottish 1803-1883) 
"THE FINISHING GUN - A REGATTA OF THE ROYAL CLYDE YACHT CLUB", c. 1865' 
Oil on canvas
11 x 15 in. (27.9 x 38.1cm)
Private collection

The Royal Northern & Clyde Yacht Club is a yacht club founded in Scotland in 1978, by merger of the Royal Northern Yacht Club (founded in 1824) and the Royal Clyde Yacht Club (founded in 1856).

The Royal Northern Yacht Club is believed to have been the first British yachting club to receive a royal charter, in 1830. The club was founded to organise and encourage the sport, and by 1825 Scottish and Irish clubs were racing against each other on the Clyde. However, yachting and yacht building didn't really take off until the middle of the 19th century. The Clyde Model Yacht Club was inaugurated in 1856, receiving its royal charter in 1863, and the two clubs dominated the Scottish yachting scene at that time. In 1886 the Royal Northern yacht Galatea challenged for the America's Cup and the following year it was the turn of Thistle from the Royal Clyde. More on Royal Clyde Yacht Club

William Clark (26 June 1803- 11 November 1883) was a Scottish artist specialising in paintings of ships. His works are held in the National Maritime Museum and other collections.

He was born in Greenock, near Glasgow, and lived there all his life. His father was a seaman, later a customs officer, and Clark was at first apprenticed to a house painter but established himself as an artist in 1830. In 1835 he was invited to paint the regatta of the Royal Northern Yacht Club and was in 1838 elected to membership of the club. It has been said that he "was fortunate to live during the heyday of Clyde shipbuilding when commissions from owners and masters ensured a steady supply of work, enabling Clark to spend his career in his native town without having to seek patrons elsewhere". More on William Clark

Léon Lhermitte, 1844 - 1925, FRENCH
LE MARCHÉ AUX POISSONS, ST. MALO
Pastel on paper
51 by 40cm., 20 by 15¾in.
Private collection

Saint-Malo is a historic walled port city and commune in Brittany on the English Channel coastline of northwestern France. Traditionally known for its independent streak, Saint-Malo was in the past notorious for privateering (the "cité corsaire"). Today the city is a major tourist destination, with many ancient structures. More on Saint-Malo

Léon Augustin Lhermitte (31 July 1844, Mont-Saint-Père – 28 July 1925, Paris) was a French realist painter and etcher whose primary subject matter was rural scenes depicting peasants at work. He was a student of Lecoq de Boisbaudran, he gained recognition after his show in the Paris Salon in 1864.

His many awards include the French Legion of Honour (1884) and the Grand Prize at the Exposition Universelle in 1889.

Lhermitte’s innovative use of pastels won him the admiration of his contemporaries. Vincent van Gogh wrote that "If every month Le Monde Illustré published one of his compositions ... it would be a great pleasure for me to be able to follow it. It is certain that for years I have not seen anything as beautiful as this scene by Lhermitte ... I am too preoccupied by Lhermitte this evening to be able to talk of other things."


Lhermitte is represented in the collections of museums around the world, including Amsterdam, Boston, Brussels, Chicago, Florence, Montreal, Moscow, Paris, Rheims, and Washington. More on Léon Augustin Lhermitte

Paul Fischer, 1860-1934, DANISH
BATHERS ON THE BEACH, FALSTERBO
Oil on canvas
55.5 by 39.5cm., 21¾ by 15½in.


Falsterbo is a town located at the south-western tip of Sweden in Vellinge Municipality in Skåne. Falsterbo is situated in the southern part of the Falsterbo peninsula, one of Sweden's historical cities.

During the Middle Ages, it was a rich and prestigious town because it was located in a center of trade and herring fishery. On the beach between Falsterbo and neighboring town Skanör was the Scania Market where merchants from various parts of Europe had fixed market places. They say that you used to be able to scoop the herring out of the sea with your hat at Falsterbo. These days, the only scooping is for ice cream. It’s the sand that draws the Stockholm smart set to this fishtail-shaped peninsula. More on Falsterbo

Paul Gustav Fischer,  (1860–1934) 
Sunbathing in the Dunes, c. 1916
Oil on canvas
58 × 75 cm (22.8 × 29.5 in)
Private collection

Paul Gustav Fischer (22 July 1860 in Copenhagen – 1 May 1934 in Gentofte) was a Danish painter. Fischer belongs to the fourth generation of Fischers to live in Denmark. His family originally came from Poland. The family was upper middle class; Paul's father had started as a painter, but later succeeded in the business of manufacturing paints and lacquers.

Fischer began to paint when he was still young, guided by his father. It was thanks to a painting he had published in Ude og Hjemme that his reputation began to evolve as he came in contact with young Danish naturalists. His earlier paintings depict city life. For this reason, he has been called "Copenhagen's painter" or "Københavns maler". After a stay in Paris from 1891–1895, his colours became richer and lighter. It was not long before Fischer gained fame as a painter of cities, not just Copenhagen, but scenes from Scandinavia, Italy and Germany, reaching his zenith between 1890 and 1910. Around this time, he also painted bright, sunny bathing scenes, some with nude women, and developed an interest in posters, inspired by Théophile Steinlen and Henri de Toulouse-Lautrec. More on Paul Gustav Fischer










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09 Classic Works of Art, Marine Paintings - With Footnotes, #49

Montague Dawson RMSA, FRSA (1890–1973) 
THE LOFTY CLIPPER, CLAN MACFARLANE
oil on canvas
36 by 24 3/8 in. 91.4 by 61.9 cm
Private collection

The Clan MacFarlane was built by Russel & Co., for Thomas Dunlop & Sons and launched in 1881 from Greenock, Scotland.  The three-masted full-rigged iron ship was sunk with her crew by a cyclone when stationed at Noumea, New Caledonia in 1934.  The title of the present work is likely original, Dawson's addition of "lofty" emphasizing both the ships' sails and the somewhat unusual tall, vertical composition. More on The Clan MacFarlane

Montague Dawson RMSA, FRSA (1890–1973) was a British painter who was renowned as a maritime artist. His most famous paintings depict sailing ships, usually clippers or warships of the 18th and 19th centuries. Montague was the son of a keen yachtsman and the grandson of the marine painter Henry Dawson (18111878), born in Chiswick, London. Much of his childhood was spent on Southampton Water where he was able to indulge his interest in the study of ships. For a brief period around 1910 Dawson worked for a commercial art studio in Bedford Row, London, but with the outbreak of the First World War he joined the Royal Navy. Whilst serving with the Navy in Falmouth he met Charles Napier Hemy (18411917), who considerably influenced his work. In 1924 Dawson was the official artist for an Expedition to the South Seas by the steam yacht St.George. During the expedition he provided illustrated reports to the Graphic magazine.

After the War, Dawson established himself as a professional marine artist, concentrating on historical subjects and portraits of deep-water sailing ships. During the Second World War, he was employed as a war artist. Dawson exhibited regularly at the Royal Society of Marine Artists, of which he became a member, from 1946 to 1964, and occasionally at the Royal Academy between 1917 and 1936. By the 1930s he was considered one of the greatest living marine artists, whose patrons included two American Presidents, Dwight D Eisenhower and Lyndon B Johnson, as well as the British Royal Family. Also in the 1930s, he moved to Milford-Upon-Sea in Hampshire, living there for many years. Dawson is noted for the strict accuracy in the nautical detail of his paintings which often sell for six figures.

The work of Montague Dawson is represented in the National Maritime Museum, Greenwich and the Royal Naval Museum, Portsmouth. More on Montague Dawson

Montague Dawson RMSA, FRSA (1890–1973) 
The Flying Cloud
Oil on canvas
20 x 30 in 50.8 x 76.2 cm
Private collection

Flying Cloud was a clipper ship that set the world's sailing record for the fastest passage between New York and San Francisco, 89 days 8 hours. The ship held this record for over 100 years, from 1854 to 1989.[

Flying Cloud was the most famous of the clippers built by Donald McKay. She was known for her extremely close race with Hornet in 1853; for having a woman navigator, Eleanor Creesy, wife of Josiah Perkins Creesy who skippered Flying Cloud on two record-setting voyages from New York to San Francisco; and for sailing in the Australia and timber trades. More on Flying Cloud

Montague Dawson RMSA, FRSA (1890–1973) was a British painter who was renowned as a maritime artist. His most famous paintings depict sailing ships, usually clippers or warships of the 18th and 19th centuries. Montague was the son of a keen yachtsman and the grandson of the marine painter Henry Dawson (18111878), born in Chiswick, London. Much of his childhood was spent on Southampton Water where he was able to indulge his interest in the study of ships. For a brief period around 1910 Dawson worked for a commercial art studio in Bedford Row, London, but with the outbreak of the First World War he joined the Royal Navy. Whilst serving with the Navy in Falmouth he met Charles Napier Hemy (18411917), who considerably influenced his work. In 1924 Dawson was the official artist for an Expedition to the South Seas by the steam yacht St.George. During the expedition he provided illustrated reports to the Graphic magazine.

After the War, Dawson established himself as a professional marine artist, concentrating on historical subjects and portraits of deep-water sailing ships. During the Second World War, he was employed as a war artist. Dawson exhibited regularly at the Royal Society of Marine Artists, of which he became a member, from 1946 to 1964, and occasionally at the Royal Academy between 1917 and 1936. By the 1930s he was considered one of the greatest living marine artists, whose patrons included two American Presidents, Dwight D Eisenhower and Lyndon B Johnson, as well as the British Royal Family. Also in the 1930s, he moved to Milford-Upon-Sea in Hampshire, living there for many years. Dawson is noted for the strict accuracy in the nautical detail of his paintings which often sell for six figures.

The work of Montague Dawson is represented in the National Maritime Museum, Greenwich and the Royal Naval Museum, Portsmouth. More on Montague Dawson

Joseph Giunta, (1911–2001) 
Seascape Rockport
Oil on wood panel
20 x 30 in.
Private collection

Rockport is a town in Essex County, Massachusetts, United States. Rockport is located approximately 40 miles (64 km) northeast of Boston at the tip of the Cape Ann peninsula. It is directly east of Gloucester and is surrounded on three sides by the Atlantic Ocean.

Before the coming of the English explorers and colonists, Cape Ann was home to a number of Native American villages, inhabited by members of the Agawam tribe. Samuel de Champlain named the peninsula "Cap Aux Isles" in 1605, and his expedition may have landed there briefly. By the time the first Europeans founded a permanent settlement at Gloucester in 1623, most of the Agawams had been killed by diseases caught from early contacts with Europeans. More on Rockport

Joseph Giunta (1911–2001) was a Canadian painter whose career spanned over 70 years. He was born in Montreal and began painting at the age of 14. He studied the arts at the Monument National and at the École des Beaux-Arts de Montréal. Giunta also studied in Boston, France and Italy. Throughout his career, Giunta's style evolved into 4 major styles: Figuration (1931–1958), Gestural Abstraction (1958–1975), Geometric and Baroque Constructions (1971–1989), Organic Collage-Paintings (1974–2001).

Over the course of more than 60 years, Giunta participated in a host of solo and group exhibitions, including at Quebec City's Zanettin Gallery in 1965 and 1973, as well as at the Quebec Pavilion at the Osaka World's Fair in 1970.

In 2001, the year of his death, a major exhibit at the Maison de la culture Frontenac in Montreal, along with the release of filmmaker Pepita Ferrari's Joseph Giunta: A Silent Triumph, served to pay a tribute to the artist, repositioning Giunta within the artistic scene in Quebec and Canada. More on Joseph Giunta 

MARY ELIZABETH PRICE, American (1877-1965) 
Village Queen
Oil on board
9 1/2 x 16 inches
Private collection

Mary Elizabeth Price (March 1, 1877 – February 19, 1965), also known as M. Elizabeth Price, was an American Impressionist painter. She was an early member of the Philadelphia Ten, organizing several of the group's exhibitions. She steadily exhibited her works with the Pennsylvania Academy of the Fine Arts, the National Academy of Design, and other organizations over the course of her career. She was one of the several family members who entered the field of art as artists, dealers, or framemakers. More on Mary Elizabeth Price

Frederick Judd Waugh, American (1861-1940) 
Seascape with Breaking Waves
Oil on board
13 1/4 x 19 3/4 inches
Private collection

Frederick Judd Waugh (September 13, 1861 in Bordentown, New Jersey – September 10, 1940) was an American artist, primarily known as a marine artist. During World War I, he designed ship camouflage for the U.S. Navy, under the direction of Everett L. Warner.

Waugh was the son of a well-known Philadelphia portrait painter, Samuel Waugh. He studied at the Pennsylvania Academy of Fine Arts with Thomas Eakins, and at the Académie Julian in Paris, with Adolphe-William Bouguereau. After leaving Paris, he moved to England, residing on the island of Sark in the English Channel, where he made his living as a seascape painter.

In 1908, Waugh returned to the U.S. and settled in Montclair Heights, New Jersey. He had no studio, until art collector William T. Evans offered him one in exchange for one painting a year. In later years, he lived on Bailey Island, Maine, and in Provincetown, Massachusetts. 


In 1918, Waugh was recommended to serve as a camouflage artist (or camoufleur) for the U.S. Navy, as a member of the Design Section of its marine camouflage unit (Behrens 2002, 2009). That section was located in Washington, D.C., and was headed by American painter Everett L. Warner (Warner 1919). More on Frederick Judd Waugh

Francis Campbell Boileau Cadell, R.S.A., R.S.W.,1883-1937
NORTH WIND, IONA (THE BATHER)
Oil on panel
36.9 by 45.1cm., 14½ by 17¾in.
Private collection

It was unusual for Cadell to include figures in his Iona paintings, but here he has placed a woman clad in a white dress which flutters in the sea-breeze and gives a beautifully animated element echoing the rolling waves in the bay beyond. Mauve, sea-greens and brilliant blues give a vibrancy to the picture and are wholly Colourist in their harmonies and contrasts. North Wind, Iona depicts the North shore, painted amongst the rocks that form the west boundary of the sands at Chalbha, where we catch a glimpse of the uninhabited island of Lunga, partly hidden by the rocky islet of Eilean Chalbha. More on this painting

Francis Campbell Boileau Cadell RSA (12 April 1883 – 6 December 1937) was born in Edinburgh, and educated at the Edinburgh Academy. From the age of 16 he studied in Paris at the Académie Julian, where he was in contact with the French avant-garde of the day. While in France, his exposure to work by the early Fauvists, and in particular Matisse, proved to be his most lasting influence. After his return to Scotland, he was a regular exhibitor in Edinburgh and Glasgow, as well as in London.

Cadell spent much of his adult life in Scotland and had little direct contact with many of the new ideas that were being developed abroad. He therefore tended to use subjects and environments that were close at hand – landscapes, fashionable Edinburgh New Town house interiors, still life and figures in both oil and watercolour. He is particularly noted for his portraits of glamorous women whom he painted in a loose, impressionistic manner. He enjoyed the landscape of Iona enormously, which he first visited in 1912 and features prominently in his work. 

During World War I he served in the 9th Argyll and Sutherland Highlanders and the 9th Royal Scots regiments. More on Francis Campbell Boileau Cadell

John Duncan Fergusson, R.B.A., 1874-1961
THERMICE, HARLECH BEACH, c. 1926 "Thermice, Harlech"
Watercolour and coloured chalks over pencil
27.5 by 33.5cm., 10¾ by 13¼in.
Private collection

Harlech is a seaside resort and small town on the Cardigan Bay coastline in Gwynedd, West Wales. Nestling in the foothills of Snowdonia the town sits on the edge of the Bay of Cardigan looking westward toward the Llyn peninsula. Harlech is renowned for it's medieval fortress, Harlech Castle, built by the English King Edward 1 in the 13th century in his attempt to subdue the rebellious Welsh. The castle dominates the small town and is visible for miles around standing sentinel over Cardigan Bay. After almost a thousand years, the sea has abandoned the Castle and has left it stranded high and dry on its rocky promontory almost a mile from the present shoreline. More on Harlech

John Duncan Fergusson, (b Leith , 9 Mar. 1874; d Glasgow, 30 Jan. 1961). Scottish painter (mainly of landscapes and figure subjects) and occasional sculptor, the best known of the Scottish Colourists. From about 1895 he made regular visits to Paris and he lived there 1907–14. His early work was Whistlerian and he then came under the influence of Manet, but by 1907 he had adopted the bold palette of Fauvism and became the most uncompromising adherent to the style among British artists (Blue Beads, 1910, Tate, London). More on John Duncan Fergusson

Jimmy Lawlor 
Lady with hat

"Australia is a vast, mostly empty continent.  The large population areas all cling to the coastlines.  I live within walking distance of beautiful, white, sandy beaches at the edge of the Indian Ocean.  I can look out to sea and realise that the next landfall to the west is the island of Madagascar, 7,000 miles away (11,000km).  I would like to say that I love reclining in a giant shell, pondering the wonders of nature and wearing an amazing shell hat, but that would be a lie." Jimmy Lawlor 

Jimmy Lawlor was born in Wexford. He now lives in Westport, in the magnificent West of Ireland. Lawlor has been exhibiting for over 20 years.
His work is based not only on the Irish sense of humour, but on the vivid realisation that the old way of life will have vanished by our next generation.
His work takes elements from his surroundings and mixes them with the people of the place, in their environment and doing what they love best. In their own way, they have helped create the atmosphere around them, whether they be farmers, business people, students or otherwise.

Sarah Vermeersch, France
Hooked
Photography

31.5 H x 31.5 W x 0.4 in
Private collection


Sarah Vermeersch studied art and photography in Brussels, then moved briefly to London before settling in the south of France. After years of exploring different areas of photography from portraits to street reportage as well as music videos and documentaries, Sarah started working on illustrations of classic mythology which led her to new adventures creating images reminiscent of paintings within the photographic medium. Inspired often by fairytales and myths, sometimes just by idioms or turns of phrase, Sarah’s images conjure an imaginary world behind the curtain of the real, to illustrate dreams and nightmares, love of life, fear of death, reach and grasp. More on Sarah Vermeersch








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01 Marine Work, GEORGE SAVARY WASSON's USS Brooklyn at the Battle of Santiago de Cuba, With Footnotes, #320

GEORGE SAVARY WASSON (American, 1855-1932) USS Brooklyn at the Battle of Santiago de Cuba, c. 1901 Oil on canvas 30 x 45 in. Private collect...