Marine Art: 2022

01 Marine Painting - John Charles Allcot's American Clipper Ship 'Wavertree', with Footnotes, #344

John Charles Allcot, (1888-1973)

American Clipper Ship 'Wavertree' Leaving Sydney Harbour with Pilot Boat.

c. 1971

Oil on Canvas Board

58.5x73.5cm

Private collection

Wavertree is a historic iron-hulled sailing ship built in 1885. Now the largest wrought iron sailing vessel afloat, it is located at the South Street Seaport in New York City.

Wavertree was built in Southampton, England in 1885 and was one of the last large sailing ships built of wrought iron. She was built for the Liverpool company R.W. Leyland & Company, and is named after the Wavertree district of that city.

The ship was first used to carry jute between eastern India and Scotland. When less than two years old the ship entered the "tramp trades", taking cargoes anywhere in the world. In 1910, after sailing for a quarter century, the ship was dis-masted off Cape Horn and barely made it to the Falkland Islands. Rather than re-rigging the ship its owners sold it for use as a floating warehouse at Punta Arenas, Chile. Wavertree was converted into a sand barge at Buenos Aires, Argentina in 1947. This ship was discovered in 1967 at the Riachuelo River in Buenos Aires by an American citizen working on a sand barge and acquired by the South Street Seaport Museum in 1968. The ship was sent to the Arsenal Naval Buenos Aires for restoration. In 1969 after restoration was complete, the ship was towed to New York. The vessel was added to the National Register of Historic Places on June 13, 1978. More on the Wavertree

John Charles Allcot (1888-1973), artist, was born in Liverpool, England, son of George Allcot, mariner. Educated at Arnot Street Board School, at the age of 14 John was apprenticed to Tillotson & Son Ltd, lithographers, and attended classes at the Liverpool Institute and School of Art. In 1906 he worked in the Mersey tugboats and next year sailed as a deck-boy in the barque, Invermark. He loved painting and would scrounge ship's paint, sailcloth and handkerchiefs with which to depict the sea, ships and life on board.

Arriving in Sydney in 1909, Allcot signed on with the old clipper, Antiope. He worked in coastal, island and intercolonial vessels out of Sydney before giving up the sea in 1912. Supporting himself by painting theatre sets, he obtained commissions for ship paintings from Sydney photographers and toured the countryside, completing landscapes which he exhibited regularly with the Royal Art Society of New South Wales from 1920. About this time he formed an enduring friendship with Phyllis Zanker.

He gained widespread recognition in the 1920s with a series of oil paintings (on the founding of the Australian colonies) which were later acquired by the Australasian Pioneers' Club. Other commissions followed. Allcot also worked as an illustrator and wrote articles about the sea for the Sydney Mail. In the 1940s he painted the seas for ship-models built by the sculptor Robert Klippel. Allcot's painting of the Cutty Sark was presented to the Duke of Edinburgh in 1954.

Painting to tried and tested conventions, with impeccable attention to detail, Allcot used water-colour and gouache, and oils. His work was prolific and romantic. At a time of great change in the shipping industry, he specialized in nostalgic views of sailing ships and steamers, and found an appreciative market of ship-owners, captains, crews and their families. More on John Charles Allcot

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01 Marine Painting, William Henry Bartlett's SEAL-DIVER, with Footnotes, #343

William Henry Bartlett, 1858-1932

THE SEAL-DIVER, CO. MAYO, c. 1888

Oil on canvas

115 by 162.5cm., 45¼ by 64in.

Private collection

Grey seals are the larger of the two seal species found in Irish waters. Males known as bulls are larger and heavier than the female cows with mature bulls on average measuring up to 2.5 meters in length and weighing up to 300kg. Female adults will grow to 2 meters in body length and can weigh up to 180kg.

Grey seals have few natural predators in Irish waters, man is still the cause of most seal deaths. They were for centuries hunted for their fur and meat which resulted in a huge decline in their numbers throughout their range by the 19th century. Seal hunting has been made illegal in most parts of the world but their increasing numbers can bring them into conflict with fishermen who can legally shoot seals which are found close to their nets. Grey seal population increases may be regarded as a threat to the fishing industry as they will take salmon and other commercially important fish species from fixed nets, hunt within salmonid estuaries or target fish farms. More on seals

William Henry Bartlett RI (1858-1932) was an accomplished artist and draughtsman, focusing primarily on landscape painting and subjects associated with the sea. In the late 1870s he travelled to Paris to study at the Ecole des Beaux Arts under Geróme and at the Académie Julian under Bouguereau. It was through his study in Paris that he found influence from Bastien Lepage, who has been credited with leading the emergence of the Naturalist school. This inspired his use of genre and pastoral themes shown in works such as The Village Road. He returned to London in 1880 where he began exhibiting in the Royal Academy and in 1889 he was presented with a silver medal at the Paris exhibition. He developed an interest in Irish rural life, in particular the harsh landscapes that people struggled to survive in, and this has translated into a number of his paintings.

Bartlett has been exhibited numerous times with the Royal Hibernian Academy (RHA) and the Royal Academy (RA). The Fine Art Society presented a one-man show of Bartlett’s work, he has been published in the Art Journal and he was also a member of the Royal Society of British Artists. More on William Henry Bartlett

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01 Marine Painting - Newell Conver's Wyeth's Morgan's men are out for you, with Footnotes, #342

Newell Convers Wyeth (1882-1945)

"Oh, Morgan's men are out for you; and Blackbeard--buccaneer!...", c. 1917

Oil on canvas

50 ¼ x 35 in. (127.6 x 88.9 cm.)

Private collection

Sir Henry Morgan, (born 1635, Llanrhymney, Glamorgan—died August 25, 1688, probably Lawrencefield, Jamaica), Welsh buccaneer, most famous of the adventurers who plundered Spain’s Caribbean colonies during the late 17th century. Operating with the unofficial support of the English government, he undermined Spanish authority in the West Indies. More on Sir Henry Morgan

Blackbeard, (born c. 1680, Bristol?, England—died November 22, 1718, Ocracoke Island, North Carolina [U.S.]), is one of history’s most famous pirates, who became an imposing figure in American folklore.

Thought to have been active as a privateer for the British during the War of the Spanish Succession (1701–13), Blackbeard was first heard of as a pirate late in 1716, and soon became notorious for outrages along the Virginia and Carolina coasts and in the Caribbean Sea. In 1718 Blackbeard established his base in a North Carolina inlet. At the request of Carolina planters, the lieutenant governor of Virginia, Alexander Spotswood, dispatched a British naval force under Lieutenant Robert Maynard, who, after a hard fight, succeeded in killing Blackbeard. The pirate’s body was decapitated, and his head was affixed to the end of the bowsprit of his ship. More on Blackbeard

Newell Convers Wyeth (October 22, 1882 – October 19, 1945), known as N. C. Wyeth, was an American artist and illustrator. During his lifetime, Wyeth created over 3,000 paintings and illustrated 112 books, 25 of them for Scribner's, the Scribner Classics, which is the work for which he is best known. The first of these, Treasure Island, was one of his masterpieces and the proceeds paid for his studio. Wyeth was a realist painter just as the camera and photography began to compete with his craft. Sometimes seen as melodramatic, his illustrations were designed to be understood quickly. He is notably the father of painter Andrew Wyeth and the grandfather of Jamie Wyeth, both celebrated American painters. More on Newell Convers Wyeth

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01 Marine Painting - Jean Dufy's Port de Copenhague/ Port of Copenhagen, with Footnotes, #339

Jean Dufy, (1888-1964)

Port de Copenhague/ Port of Copenhagen, circa 1953-1954

Oil on canvas

18 ¼ x 21 ¾ in. (46.3 x 55.3 cm.)

Private collection

The Port of Copenhagen is the largest Danish seaport and one of the largest ports in the Baltic Sea basin. It extends from Svanemølle Beach in the north to Hvidovre in the south.

The Port dates back to the Middle Ages. Originally owned by the Danish Royal Family. Christian IV moved Naval Shipyard from Gammelholm to its current location in Holmen—the Holmen Naval Base one of several naval stations of the Royal Danish Navy. In 1742 the port was turned into an independent institution and remained unchange until 1812. More on The Port of Copenhagen

Jean Dufy (b Le Havre, France, 1888; d La Boissière, 1964) French Painter. Following his service in the military, from 1910-1912, Jean Dufy relocated to Paris. Inspired by the work of Braque and Picasso, Dufy created watercolors that expressed a heightened understanding of color and light. In the mid-1920s, Jean Dufy became captivated by the music of the time, such as Darius Millaud and Francis Poulenc, and incorporated this interest into his artwork. While depicting orchestral and musical subjects, Dufy later became enchanted by the coast of Northern France and began to create majestic and effecting landscapes. Throughout the 1950s Dufy explored Western Europe and North America, but inevitably returned to his watercolors and oils of Paris. Just two months after the death of his wife, Ismérie, Jean Dufy died in 1964 in La Boissiere. More Jean Dufy

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01 Marine Painting - Montague Dawson's Q-Ship Mary B. Mitchell, with Footnotes, #338

Montague Dawson, F.R.S.A., R.S.M.A. (British, 1890-1973)

The Q-Ship 'Mary B. Mitchell' Sinking a German U-Boat in January 1917

Oil on canvas

28 x 42 in. (71.1 x 106.7 cm.)

Private collection

Q-ships, also known as Q-boats, decoy vessels, special service ships, or mystery ships, were heavily armed merchant ships with concealed weaponry, designed to lure submarines into making surface attacks. This gave Q-ships the chance to open fire and sink them. The use of Q-ships contributed to the abandonment of cruiser rules restricting attacks on unarmed merchant ships and to the shift to unrestricted submarine warfare in the 20th century.

They were used by the British Royal Navy and the German Kaiserliche Marine during the First World War and by the RN, the Kriegsmarine and the United States Navy during the Second World War (1939–45). More on Q-ships

The Mary B Mitchell was a British and later an Irish schooner, affectionately known as Mary B.. She was a pleasure craft, a war hero, a working schooner, a film star and a transporter of essential cargoes in dangerous waters.

Built in 1892 she carried slate from Wales. In 1912 she was acquired by Lord Penrhyn and converted into a luxury yacht and spent two years cruising the Mediterranean. In April 1916, she was requisitioned as a Q-ship, she featured strongly in reports at the time, however no U-boats were actually damaged. In 1919 she joined the Arklow fleet and for the next dozen years she traded on the Irish Sea. She featured in a number of films. Mary B. was then retired. At the outbreak of World War II, she was brought out of retirement. Mary B. brought vital food to Britain and vital coal to Ireland. She travelled to Lisbon to collect American cargoes. In December 1944, she was wrecked in a storm. More on The Mary B Mitchell

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 (1811–1878), 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 (1841–1917), 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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01 Classic Works of Art, Marine Paintings, János Miklós Vaszary's BEACH IN ITALY - With Footnotes, #220

János Miklós Vaszary, Hungarian, 1867-1939

BEACH IN ITALY

Oil on canvas

52 by 77cm., 20½ by 30½in.

Private collection

János Miklós Vaszary (30 November 1867 – 19 April 1939) was a Hungarian painter and graphic artist.

His art studies began at the Hungarian University of Fine Arts. In 1887, he went to Munich. After seeing an exhibition of paintings by Jules Bastien-Lepage, he moved to Paris in 1899 and enrolled at the Académie Julian. Although he later became involved with Simon Hollósy and the artists' colony in Nagybánya and developed an interest in Hungarian folk art, his primary influences would always be French.

During World War I, he served as a correspondent on the Serbian front and his imagery became more dramatic but, after another visit to Paris, he returned to his Impressionist tendencies. From 1920 until his retirement in 1932, he served as a professor at his alma mater, the University of Fine Arts. More on János Miklós Vaszary

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01 Classic Work of Art, Marine Paintings, Edmond Marie Petitjean's Ships at the Port of Antwerp - With Footnotes, #219

Edmond Marie Petitjean (1844-1925)

Navires au Port d'Anvers/ Ships at the Port of Antwerp, c. 1883

Oil on canvas

15 x 23 1/2in (38.2 x 59.8cm)

Private collection

Antwerp's potential as a seaport was recognized by Napoleon Bonaparte and he ordered the construction of Antwerp's first lock and dock in 1811. Called the Bonaparte Dock, it was joined by a second dock - called the Willem Dock after the Dutch King - in 1813. When the Belgian Revolution broke out in 1830, there was a well-founded fear that the Dutch would blockade the Scheldt again but, in the event, they contented themselves with levying a stiff toll. Fortunately, the young Belgium had friends in Britain and particularly in the person of Lord Palmerston, who believed the existence of Belgium would be beneficial to Britain, and that, in consequence, it was important to make sure that the newly born state was economically viable.

With his support, the Belgian government was able to redeem the Dutch Toll in 1863. By that time, the Kattendijk Dock had been completed in 1860 and the all important Iron Rhine Railway to the Ruhr had been finished in 1879. Antwerp then experienced a second golden age and by 1908 eight docks had been constructed. The opening of the Royers Lock, commenced in 1905, meant that ships drawing up to 31 feet (9.4 m) of water were able to enter the existing docks and access the new Lefèbvre and America docks. Such was the situation at the outbreak of the First World War in 1914. The British, and Winston Churchill, then First Lord of the Admiralty, in particular were well aware of the Port of Antwerp's strategic importance, so much so that Churchill arrived in Antwerp on 4 October 1914 to take charge of the defence of the city and its port. More on the Port of Antwerp

Edmond Marie Petitjean, 1844 - 1925, French, was born at Neufchâteau in the Vosges. His father, a lawyer, did not allow him to study art until he had completed courses at the Faculty of Law at Nancy. From that moment, he abandoned the law and was able to devote himself entirely to his artistic career. Success followed swiftly; his work was well received at the exhibition of the Lorraine Society of the Friends of Arts, and then, in 1873, he made a brilliant début at the salon in Paris.

He was awarded an honorable mention in 1881, and a bronze medal in 1884; hors-concours, and a silver medal in 1885; a silver medal in 1889 at the Exposition Universelle, the Legion of Honor in 1892, and a gold medal at the Exposition Universelle of 1900; he was a member of the jury and of the Committee of the Artistes Français for many years.

Yet Edmond was never satisfied with his own work: “In my painting, I have searched passionately for perfections, delicacy, tenderness of expression and tone; and I feel that it will all crumble and become insipid in the Salon where, in order to elbow one’s way in, one most by violent.”

All those aspects of nature which Petitjean loved appear in his work. He could see the picturesque detail and transcribe it in full; sensitive to color, but wary of its violence. He loved the countryside, and his vision was essentially that of a country man, his inclinations leading him to the peace of rural surroundings.

Petitjean is perhaps best known for his depiction of the countryside and villages of Lorraine and Vendée. He did, however, find inspiration further afield – in the harbors of le Hâvre, Dunkerque, les Sables d’Olonne, Dieppe, Rotterdam, Bordeaux and the neighboring coastline. More on Edmond Marie Petitjean

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01 Classic Works of Art, Marine Paintings; Eugène Isabey 's After a Storm - With Footnotes, #218

Eugène Isabey (1803–1886)

After a Storm, c. 1869

Oil on canvas

height: 37 cm (14.5 in); width: 60 cm (23.6 in)

Hermitage Museum

Eugène Louis Gabriel Isabey (22 July 1803, in Paris – 25 April 1886, in Montévrain) was a French painter, lithographer and watercolorist in the Romantic style.

He was born to Jean-Baptiste Isabey, a well known painter who enjoyed the patronage of the Imperial Family. Originally, he wanted to be a sailor, but his father insisted that he study painting; a turnabout from the usual situation where the family opposes an artistic career in favor of something more practical.

After studying with his father and copying the Old Masters at the Louvre, he began sharing a studio with the landscape painter, Xavier Leprince at Honfleur, in 1824, then moved to Saint-Siméon after Leprince's untimely death. The following year, he sent some landscapes to the Salon for his first formal exhibition.

In 1831he made a short trip to Algiers, where he had painted scenes of the Royal Navy's campaign, and was concerned that the situation there was still too unsettled to make a lengthy stay.

Shortly after, Isabey became a court painter for King Louis-Philippe and was named a Knight in the Légion d'Honneur in 1832. One of his best known paintings was done during this period, in 1840, depicting the return of Napoleon's remains from Saint Helena aboard the Belle Poule.

He favored historical paintings, genre scenes and landscapes, but also executed numerous canvases depicting storms and shipwrecks; possibly reflecting his own thwarted career plans. During a trip to England, he was known to have studied the works of J.M.W. Turner. He was especially skillful at rendering subtleties in darker colors; which might be called a form of grisaille. He took in students on a regular basis; including Eugène Boudin, Johan Barthold Jongkind and Durand-Brager. In his later years, he turned from marine painting to historical scenes, usually of a violent nature, such as massacres, duels and robberies. More on Louis Gabriel Eugène Isabey

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01 Marine Painting - Kasia Derwinska's Neighborhood, with Footnotes, #378

Kasia Derwinska; Spain

Neighborhood

Color, Digital, Manipulated, New Media, Paint on Paper

31.5 W x 15.7 H x 0 in

Private collection

Kasia Derwinska "Photography is my way of communicating with the world. In my work, I talk about own experiences, thoughts, doubts, fears and hopes trying to reflect my own life's path. In addition to my experiences, my creations are inspired by night dreams as since childhood I remember most of them and I believe that dreams are the most simbolic language of our subconscious, a guide to navigate in the modern world. I am autodidactic and I don´t recognize myself as a photographer. I use photography as a tool, like a brush for painting or an instrument to play music. My work is an attempt to connect substantiality of the world that surrounds us with elusiveness of feelings and thoughts. For that reason I describe my creations as building a bridge between the visible and the invisible. My works are divided in four basic series: fairytales and fantasies, conceptual black and white, night dreams, and the color serie called "who sings, frightens away his fears" More on Kasia Derwinska

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01 Marine Photograph, Captain F. L. Grundy's H.M.S. Aboukir at Port Royal, Jamaica, with Footnotes, #336

Captain F. L. Grundy, 2nd Battalion, 6th Foot.

H.M.S. Aboukir at Port Royal, Jamaica, c. 1865

Photograph

7.5 x 9 in. 19 x 23 cm

Private collection

HMS Aboukir was a 90-gun second-rate ship of the line of the Royal Navy launched in 1848. The navy refitted her with screw propulsion in 1858 and sold her in 1877. Four ships of the Royal Navy have borne the name HMS Aboukir, after Abu Qir Bay, the site of the Battle of the Nile. This was the 3rd. More on HMS Aboukir

Port Royal is a village located at the end of the Palisadoes, at the mouth of Kingston Harbour, in southeastern Jamaica. Founded in 1494 by the Spanish, it was once the largest city in the Caribbean, functioning as the centre of shipping and commerce in the Caribbean Sea. It was destroyed by an earthquake on 7 June 1692, which had an accompanying tsunami, leading to the establishment of Kingston, which is now the largest city in Jamaica.

Port Royal was once home to privateers who were encouraged to attack Spanish vessels, at a time when smaller European nations were reluctant to attack Spain directly. As a port city, it was notorious for its gaudy displays of wealth and loose morals. It was a popular homeport for the English and Dutch-sponsored privateers to spend their treasure during the 17th century. When those governments abandoned the practice of issuing letters of marque to privateers against the Spanish treasure fleets and possessions in the later 16th century, many of the crews turned pirate. They continued to use the city as their main base during the 17th century. Pirates from around the world congregated at Port Royal, coming from waters as far away as Madagascar. More on Port Royal

I have no information on Captain F. L. Grundy

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01 Marine Painting - Jules Achille Noel's Before the gale at Le Tréport, with Footnotes, #335

Jules Achille Noel (French, 1815-1881)

Avant le coup de vent au Tréport/ Before the gale at Le Tréport, c. 1868

Oil on canvas

26 x 37cm (10 1/4 x 14 9/16in)

Private collection

Le Tréport is a commune in the Seine-Maritime department in the Normandy region in north-eastern France.

A small fishing port and light industrial town situated in the Pays de Caux, some 21 miles (34 km) northeast of Dieppe. The mouth of the Bresle river meets the English Channel here, in between the high chalk cliffs and the pebbly beach. More on Le Tréport

Jules Achille Noël, born Louis Assez Noël (24 February 1815, Quimper – 26 March 1881, Algiers) was a French landscape and maritime painter who worked primarily in Brittany and Normandy.

His family originally came from Lorraine. Some sources say that he was born there in 1810. He studied at the "Académie de Peinture et de Dessin" (Académie Charioux) in Brest. Afterwards, he went to Paris to seek his fortune and came under the influence of his fellow Breton painter Pierre-Julien Gilbert. After four years of struggling to earn his living, he returned to Brittany to teach drawing in Saint-Pol-de-Léon, Lorient and Nantes.

He had begun to participate in the Salon in 1840 and, in 1845, was one of several artists commissioned to provide engraved illustrations for a book on prisons. Eventually, his work attracted the attention of Prince Louis, Duke of Nemours, who obtained him a position as a Professor of Design at the Lycée Henri-IV, where he would teach from 1847 until his retirement in 1879. Albert Lynch and Félix Buhot were among his best-known students there.

During school vacations he would return to paint in Brittany. He was in ill-health at the time of his retirement, so he went to live with his daughter and her husband in Algeria and died there. More on Jules Achille Noël

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