01 Marine Painting - Robert Russ' Boats in the Mist, With Footnotes, #323

Robert Russ, Austrian, 1847-1922

Boats in the Mist, c. 1913

Oil over traces of pencil on board

14 1/8 x 11 3/8 inches (35.9 x 28.9 cm)

Private collection

Sold for $1,700 USD in June 2022

Robert Russ (1847, Vienna-1922, Vienna) was best known for watercolors, architectural views, urban genre scenes and landscapes with figures painted in the pure, classical style. Russ was born into a family of artists - both his father, Franz Russ and brother, the portrait and genre painter Franz Seraph Russ.

He began studying at the Vienna Academy of Fine Arts under Albert Zimmermann, who headed the department of landscape art. Among his colleagues were Emil Jakob Schindler, Eugen Jettel und Rudolf Ribarz. Robert exhibited during his studies at the Vienna Academy and the Austrian Art Association. From 1868 he was among the members of the Wien Künstlerhaus (Vienna art exhibition building).

In 1871, Russ started teaching landscape painting at the Vienna Academy. Winning the Reichl Prize in 1880, Russ was elected an honorary member of the Vienna Academy by 1881.

Robert Russ drew inspiration for his work from rich Austrian and Italian landscapes and is credited for having a profound influence on Austrian landscape painting in the last third of the 19th century before his death in 1922.

His works hang at the Villa Borghese and Gardens in Rome, in Gratz, Vienna and many other museums around Europe. More on Robert Russ

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02 Marine Paintings, Richard Hayley Lever's Fishing Boats at St. Ives, With Footnotes, #324

Richard Hayley Lever (American, 1876-1958)

Fishing Boats at St. Ives

Watercolor and gouache on paper

11 1/4 x 15 1/4 in. (28.5 x 36.7 cm)

Private collection

Sold for $950 USD in April 2023

St Ives is a seaside town, civil parish and port in Cornwall, England, United Kingdom. The town lies north of Penzance and west of Camborne on the coast of the Celtic Sea. In former times, it was commercially dependent on fishing. The decline in fishing, however, caused a shift in commercial emphasis, and the town is now primarily a popular seaside resort. St Ives has also become renowned for its number of artists. More on St Ives

Richard Hayley Lever (American, 1876-1958)

Gloucester Fishing Schooners

Watercolor on paper

15 3/8 x 19 3/4 in. (39.0 x 50.0 cm)

Private collection

Sold for $4,500 in May 2022

The Gloucester fishing schooner, 123 feet, 3 inches over all, is one of the few remaining vessels of her type in the USA. They fished the Grand Banks off Newfoundland and Georges Bank outside of Cape Cod and were some of the fastest and ablest fishing vessels in the world. More on The Gloucester fishing schooner

Richard Hayley Lever, (b Adelaide, Australia 1876; d Mount Vernon, New Hampshire 1958) Australian-born American painter. In 1900 Hayley Lever traveled to England to study art, and shortly thereafter studied at the Academie Julian in Paris where Van Gogh was a major influence. Around 1912 Lever moved to America and began gaining wide recognition as an important artist. Lever is known for his marine scenes, and once in America he maintained a studio in Gloucester, Massachusetts to paint coastal life. From 1919 to 1931 Lever taught at the Art Students League New York City; and in 1933 was made full Academician at the National Academy in New York City. In 1935 Lever became the director of the Studio Arts Club in Mount Vernon, New York. During his lifetime he was awarded numerous medals for his artistic achievements including gold and silver from the National Academy. More on Richard Hayley Lever

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01 Marine Painting, William Bradley Lamond's Carting Seaweed, With Footnotes, #323

William Bradley Lamond (1857–1924)

Carting Seaweed, c. 1906

Oil on canvas

H 35.9 x W 53.7 cm

Dundee Art Galleries and Museums Collection

William Bradley Lamond RBA (1857–1924) was a Scottish painter, born at Newtyle, Angus. He had no formal art training and worked for the Caledonian Railway company for many years. He initially specialised in portraits and later worked on landscapes which have been described as "vigorous impressionistic scenes in oil – with a strong use of colour". He was elected a member of the Royal Society of British Artists in 1906, and exhibited at the Royal Academy, Royal Scottish Academy and Glasgow Institute of the Fine Arts. More on William Bradley Lamond

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01 Painting, Marine Art, The Art of War, Yevgeny Kravtsov's The Naval Battle of Athos, with Footnotes, #40

Kravtsov, Yevgeny (1965 Russia)

The Naval Battle of Athos in the Russo-Turkish War

Oil on canvas

70.0 x 105.0 cm

Private collection

During the Russo-Turkish War, fought between 1806-1812, the Naval Battle of Athos occurs on June 19th 1807. A Russian fleet commanded by Admiral Dmitry Nikolayevich Senyavin, attacked and destroyed an Ottoman fleet of some 20 naval vessels under Kapudan Pasha (Ottoman Admiral) Seyit-Ali, between the Athos peninsula and the island of Lemnos, in Greece. As a result of the battle, the Ottoman Empire lost a combat-capable fleet for more than a decade and signed an armistice with Russia on 12 August. More on Naval Battle of Athos

Evgeny Mikhailovich Kravtsov was born in the Altai Territory in 1965. He received his art education at the Novoaltaisk Art School, where he later taught, and at the Russian Academy of Painting, Sculpture and Architecture. He was the head of the Department of Painting and Drawing of the Moscow Academic Art School.

Yevgeny Kravtsov was largely inspired by the 1980s. The 1980s were an era of developing global capitalism, political upheaval, global mass media, wealth discrepancies and distinctive music and fashion, characterised by hip hop and electronic pop music. This had a heavy impact on the generation of artists growing up during this decade. The fall of the Berlin Wall at the end of the 1980s signified the end of the Cold War, yet the era was also marked by the African Famine. During this time prominent art movements included Neo Geo, The Pictures Generation and Neo-Expressionism, which took a strong hold in Germany, France and Italy. Artists such as Anselm Kiefer, Jörg Immendorf, Enzo Cucchi, Francesco Clemente and Julian Schnabel were leading artists working at this time, alongside Jean-Michel Basquiat, Keith Haring and Kenny Scharf, who established the street art and graffiti movements, which quickly gained recognition. More on Yevgeny Kravtsov

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01 Marine Art, ANGE-JOSEPH-ANTOINE ROUX's ACTION BETWEEN FRIGATES, With Footnotes #315

Jean François Hue, (French, 1751-1823)

French corvette Bayonnaise boarding HMS Ambuscade during the Action of 14 December 1798

Oil on canvas

Château de Versailles, France

Bayonnaise was a 24-gun corvette of the French Navy, launched in 1793. Bayonnaise was being built as a privateer when the Ministry of Marine requisitioned her in 1793 before she sailed. The Ministry assumed the construction contracts and purchased her in March 1794. Her hull was coppered in 1795 in Brest. She was officially renamed Brême that year, but apparently the new name was roundly ignored.

She became famous for the Action of 14 December 1798, in which she captured the much stronger 32-gun Ambuscade off the Gironde. Ambuscade was blockading Rochefort, when the smaller Bayonnaise captured her. Ambuscade had ten men killed, including her first lieutenant and master, and 36 wounded, including her captain. Bayonnaise had 30 killed, and 30 badly wounded, including Richer and his first lieutenant.

On 28 November 1803, Ardent gave chase to Bayonnaise in Finisterre Bay. The corvette's crew ran her ashore and then set fire to her prevent the British from capturing her. Captain Winthrop of Ardent described Bayonnaise as a frigate of 32 guns and 220 men, which had been sailing from Havana to Ferrol. Actually, Bayonnaise was armed en flute with only six 8-pounder guns, and was returning from the Antilles.

Archaeologists of the "Finisterre Project" in August 2010 located Bayonnaise's wreck on Langosteira beach, Finisterre. More on the Bayonnaise

Jean-François Hue ( Saint-Arnoult-en-Yvelines , December 2, 1751 - Paris, 26 December 1823) was a French landscape painter of the eighteenth and nineteenth centuries. He was received at the Royal Academy in 1782. His main sources of inspiration for his works are his great voyages.

He entered the studio of Joseph Vernet as a painter and landscape designer; He painted four views of the castle of Mousseaux and it's gardens.

Having specialized in landscapes and marines, his talent allowed him to become an official Navy painter, following in the footsteps of his master Joseph Vernet . Thus, in 1791 , the Constituent Assembly entrusted him with the task of completing the series representing the ports of France, commissioned at Vernet from 1753 .

Between 1792 and 1798 , he executed a series of six paintings on the theme of the ports of Brittany . More on Jean-François Hue

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01 Marine Art, The Battle of the USS Monitor and CSS Merrimack (Virginia), With Footnotes #310

Julian Oliver Davidson (1853-94)
The Battle of Hampton Roads, c. 1862

The Monitor and Merrimac: The First Fight Between Ironclads

Oil on canvas

 Library of Congress

Julian Oliver Davidson (December 27, 1853–April 30, 1894) was a 19th-century American marine artist and illustrator from Nyack, New York. He best known works of the famous naval battles of the American Civil War. Davidson's works were exhibited at the Hudson River Museum, New-York Historical Society and the National Academy of Design in the 1870s and 1880s.

Davidson began drawing at the studio of Mauritz de Haas, a Dutch-American marine painter. He was introduced to painters of the Hudson River School including Winslow Homer, Albert Bierstadt and Frederick Church. He stayed there for three years.

Davidson specialized in the naval battles of the United States. He best known works of the famous naval battles of the American Civil War. In 1884, he was commissioned to provide illustrations of naval scenes for the four-volume work The Battles and Leaders of the Civil War. Recognized by the National Academy of Design, two of his greatest naval paintings, The Battle of Lake Champlain and The U.S. Frigate Constitution, 'Old Ironsides' Escaping From the British Fleet" were displayed at the National Academy of Design's annual art show.

The Battle of Lake Champlain (1884) hangs in the Key Bank Art Gallery in Plattsburgh, New York. He has exhibited at the Hudson River Museum, New-York Historical Society and the National Academy of Design. More on Julian Oliver Davidson

It was fought over two days, March 8–9, 1862, in Hampton Roads, in Virginia. The battle was a part of the effort of the Confederacy to break the Union blockade, which had cut off Virginia's largest cities and major industrial centers, Norfolk and Richmond, from international trade.

This battle was the first meeting in combat of ironclad warships, USS Monitor and CSS Virginia. On the first day of battle, they were opposed by several conventional, wooden-hulled ships of the Union Navy.

On that day, Virginia was able to destroy two ships of the federal flotilla, USS Congress and USS Cumberland, and was about to attack a third, USS Minnesota, which had run aground. However, the action was halted by darkness and falling tide, so Virginia retired to take care of her few wounded and repair her minimal battle damage.

Determined to complete the destruction of Minnesota, the Virginia returned the ship to the fray the next morning, March 9. During the night, however, the ironclad Monitor had arrived and had taken a position to defend Minnesota. When Virginia approached, Monitor intercepted her. The two ironclads fought for about three hours, with neither being able to inflict significant damage on the other. The duel ended indecisively, Virginia returning to her home at the Gosport Navy Yard for repairs and strengthening, and Monitor to her station defending Minnesota. The ships did not fight again, and the blockade remained in place.

The battle received worldwide attention, and it had immediate effects on navies around the world. The preeminent naval powers, Great Britain and France, halted further construction of wooden-hulled ships, and others followed suit. Although Britain and France had been engaged in an iron-clad arms race since the 1830s, the Battle of Hampton Roads signaled a new age of naval warfare had arrived for the whole world. A new type of warship, monitor, was produced on the principle of the original. The use of a small number of very heavy guns, mounted so that they could fire in all directions, was first demonstrated by Monitor but soon became standard in warships of all types. Shipbuilders also incorporated rams into the designs of warship hulls for the rest of the century. More on The Battle of the Monitor and Merrimack

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01 Marine Painting, Ester Almqvist's Gothenburg Harbour with Boats in the Ice, With Footnotes #384

Ester Almqvist (Swedish, 1869 - 1934)

Gothenburg Harbour with Boats in the Ice, c. 1916

Oil on canvas

62,50 x 89,50 cm

Gothenburg Museum of Art 

The municipally-owned Port of Gothenburg is the largest port in the Nordic countries. The port is situated on both sides of the estuary of Göta älv in Gothenburg. The north shore, Norra Älvstranden, is on Hisingen island and the south shore, Södra Älvstranden, is on the mainland. It is a combined river and coastal port. More on the Port of Gothenburg

Ester Dorothea Almqvist (3 November 1869 – 11 June 1934) was a Swedish artist who was a pioneer of Expressionist painting in Sweden.

Almqvist was born in Bromma but spent her childhood in Stockholm, where her parents taught in a school for Christian missionaries. She is the female artist who is represented with most artworks in the collections of Malmö Konstmuseum, a total of 2,083 pieces. She had specified in her will that her collection of oil and watercolour paintings, charcoal, pastel and ink drawings, graphic pages and sketchbooks should be donated to that particular museum. Her father, a priest, died when she was nine. Her mother worked as a private tutor and book seller for the sake of providing for her family. Almqvist was born with a deformed spine that limited her mobility throughout her life but also gave her freedom to study art instead of being confined to housework.

She attended the Technical School in Stockholm, graduating in 1891, and she studied art privately with the painter Gustaf Cederström. She continued her art studies at the Valand Art Academy in Gothenburg (1892–1893) and then at the Konstnärsförbundets skola in Stockholm (1894–1895). Her teachers included Per Hasselberg and Bruno Liljefors. While in school, she supported herself by commercial book illustration work. Later, she was a member of the women's association Nya Idun. More on Ester Dorothea Almqvist

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01 Work, Marine Paintings - With Footnotes, #242

Paul Aizpiri, (French, 1919-2016) 

The Harbor 

Oil on canvas 

18 x 21 1/2 inches.

Private collection

Paul Augustin Aizpiri (14 May 1919 – 22 January 2016) was a French artist. Aizpiris art is largely influenced by expressionist and Cubist elements. The motives have often been vases and clown portraits , but he also has taken motifs from the more typical French, among other Mediterranean cities. His artwork is often characterized by a distinctive use of color, which makes his pictures easily recognizable. Aïzpiri is particularly highly valued in Japan, where he has his own museum. More Aizpiri

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01 Classic Work of Art, Marine Paintings - With Footnotes, #189

William Lentz Weiss

Boston Harbor Scene, c. 1920

Oil on Canvas

23 x 31 in

Private collection

Boston Harbor is a natural harbor and estuary of Massachusetts Bay, and is located adjacent to the city of Boston, Massachusetts. It is home to the Port of Boston, a major shipping facility in the northeastern United States.

Since its discovery to Europeans by John Smith in 1614, Boston Harbor has been an important port in American history. It was the site of the Boston Tea Party as well as almost continuous backfilling of the harbor until the 19th century. By 1660 almost all imports came to the greater Boston area and the New England coast through the waters of Boston Harbor. More on Boston Harbor 

William Lentz Weiss lived in East Gloucester, MA and Philadelphia, PA. He was a member of the Salmagundi Club. In 1907 and 1924, he exhibited at the Pennsylvania Academy of Fine Arts. In 1907, he exhibited at the Art Institute of Chicago. More on William Lentz Weiss

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01 Marine Paintings - With Footnotes, #150

20th Century School

Passenger Ship Entering New York Harbor

Oil on canvas

20 x 16 inches (50.8 x 40.6 cm)

Twentieth-century art—and what it became as modern art—began with modernism in the late nineteenth century. Nineteenth-century movements of Post-Impressionism (Les Nabis), Art Nouveau and Symbolism led to the first twentieth-century art movements of Fauvism in France and Die Brücke in Germany. Fauvism in Paris introduced heightened non-representational colour into figurative painting. Die Brücke strove for emotional Expressionism. Another German group was Der Blaue Reiter ("The Blue Rider"), led by Kandinsky in Munich, who associated the blue rider image with a spiritual non-figurative mystical art of the future. Kandinsky, Kupka, R. Delaunay and Picabia were pioneers of abstract (or non-representational) art. Cubism, generated by Picasso, Braque, Metzinger, Gleizes and others rejected the plastic norms of the Renaissance by introducing multiple perspectives into a two-dimensional image. Futurism incorporated the depiction of movement and machine age imagery. Dadaism, with its most notable exponents, Marcel Duchamp, who rejected conventional art styles altogether by exhibiting found objects, notably a urinal, and too Francis Picabia, with his Portraits Mécaniques.

Parallel movements in Russia were Suprematism, where Kasimir Malevich also created non-representational work, notably a black canvas. The Jack of Diamonds group with Mikhail Larionov was expressionist in nature. More on Twentieth-century art

01 Classic Works of Art, Marine Paintings - With Footnotes, #109

William Edward Webb, English, 1862-1903 

View of a Harbor 

Oil on canvas 

22 x 38 inches (56 x 96.5 cm) 

Private collection

William Edward Webb (British, 1862-1903). A permanent resident of Manchester, he widely frequented the coasts and ports of Great Britain, producing an impressive output of active scenes celebrating the challenges faced by those who plied their trades on the open ocean.

Webb exhibited more than 60 paintings from 1890 to 1904, mostly in his hometown, but also with the Walker Art Gallery in Liverpool and three times with the Royal Academy in London. Greater commercial recognition came to Webb posthumously partially through the efforts of author Denys Brook-Hart, who saw what he identified as the extreme first-hand excellence of the artist.

Webb’s art is celebratory in spirit while it offers no false glamour of the hard lives faced by working sailors and fishermen in the 19th century. His seas are vibrant and active, his atmospheric light exceedingly realistic of the heavy skies of the British Isles, and his portrayals of the local people artistically insightful. More William Edward Webb

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01 Classic Works of Art by the Old Masters, Marine Paintings - With Footnotes, #21d

Egon Schiele - 1890 - 1918

Harbor of Trieste, c. 1907

Oil on cardboard 

Height: 25 cm (9.84 in.) Width: 18 cm (7:09 in.)

Neue Galerie am Landesmuseum  (United States)

The Port of Trieste is a port in the Adriatic Sea in Trieste, Italy. In the period between the beginning of 1700 and 1850, Trieste was mainly an emporium and was given the status of Free Port by Charles VI, Holy Roman Emperor in 1719. In 1740, when Empress Maria Theresa of Austria took power, one of the first measures she adopted was to extend the borders of the Free Port area to the periphery of the town, thereby merging the emporium, the port, the new city and the old one. The Empress decided to extend the exemptions from customs duties to the whole city, which attracted many people from different countries and all walks of life (Italians, Serbians, Slovenians, Croats, Jews and Greeks): for them a law was passed, the "Editto di tolleranza", which provided for the freedom of worship, the possibility to negotiate freely and to own goods. More on The Port of Trieste

Egon Schiele (German: 12 June 1890 – 31 October 1918) was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter of the early 20th century. His work is noted for its intensity and its raw sexuality, and the many self-portraits the artist produced, including naked self-portraits. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism. More on Egon Schiele

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