BEYOND THE HORIZON: THE MARINE COLLECTION
We are pleased to announce our latest exhibition Beyond the Horizon: the Marine Collection which represents the full span of the Golden Age of maritime painting. The vast majority of the paintings in this exhibition are inextricably linked to the rise of maritime Imperial powers in the 18th and 19th century. This period saw a sharp rise in the demand for Maritime paintings and the prints made after them which reflected each country’s rule of the waves, and allowed each nation to share its triumphs as well as disasters. Shipping was the principal means of transportation and commerce during the 18th and 19th centuries, and their owners, builders and captains were the celebrities of the day. Many of the artists represented in this collection were also accomplished sailors. Each created compositions with extraordinary accuracy while introducing atmospheric light and weather to bring drama to their subjects, exploring the sea’s bounty along with its fearsome and destructive power. From foreign harbours to marine battles, the range of imagery reveals the extraordinary impact that maritime travel had on art of the period.
Montague Dawson (British 1890-1973)
Montague Dawson is considered the greatest marine painter of the 20th century in the realist tradition, known for the strict accuracy and nautical detail of his paintings. With little formal training, he was fascinated with ships from an early age and began drawing at the age of eight. After working as an illustrator in London he enlisted in the Royal Navy and earned the duty of keeping a visual record of the war at sea. Mentored by the marine painter Charles Napier Hemy, he submitted works to the Royal Academy and formed a partnership with Frost and Reed who represented him for the remainder of his career. After marrying, he moved his family to Milford on Sea in Hampshire in 1934 where he painted in a cottage he built behind his house. He exhibited regularly at both the Royal Society of Marine Artists and the Royal Academy and was known best for his clipper ships and multi masted sailing vessels of the mid 19th century whose graceful lines and romantic history enchanted him. His clients include the British Royal Family as well as two US Presidents, and he is represented in major private and public marine collections worldwide.
Louis (Charles-Louis) Verboeckhoven (Belgian 1802-1889)
This exceptional example by Louis Verboeckhoven depicts shipping off the town of Vlissingen on the Southern Dutch coast. To the left is the historic Lampsinshuis, built by Zeeland merchant Cornelis Lampsins in 1641 in the then new style of Dutch Classicism, and is now the home of the Maritime Museum (MuZEEum). In the center is St. James the Great Church on the Old Market, built 1308-28 and rebuilt after heavy damage by a fire in 1911. Oranjemolen Tower Mill on the right was built prior to 1699 and is the closest mill to the sea in the Netherlands. It is a historic monument owned by the City of Vlissingen and is still in use today.
The Belgian marine artist Louis Verboeckhoven trained under his father Barthélemy, a sculptor, and his older brother, Eugène, a celebrated animal painter. Studying under Frans Balthasar Solvyns in Ghent, Louis developed an interest in marine painting and his work was highly regarded. Read more here…
John Hughes (British 1805-1880)
The John Fielden was built at St. Martin's, New Brunswick by Brown & Carson in 1846. She was of 916 tons and measured 157' x 31'2" x 21'. Her owner was John Wishert, a St. John merchant who was born at Montrose, Scotland in 1799. She was sold to Liverpool in November 1847 and was employed in the Australian immigration trade. On a voyage from Liverpool to Moreton Bay in 1853 she carried 393 passengers. She went missing in 1860.
William Webb (British Fl. 1860-1895)
Helen's Bank was built in Kincardine, Perthshire in 1869. She was 317 tons, with the official number 20794. She was owned by James Baird Wright, and registered in Alloa, Firth of Forth. By 1871 she was owned by William Thompson of Dixon of Liverpool, but in 1872 she no longer appeared on the Mercantile Marine List.
de Simone (Italian 19th century)
The Revenge was built at Pembroke Dockyard at a cost of 98,583 British Pounds and was launched April 16, 1859. She was the sixth vessel of this name and was a 3318 ton vessel of the "Reknown" class with 91 guns. Her dimensions were 244' 9" x 55' 4" x 24' 6" with a displacement of 5,500 tons. Originally to be of the James Watt class, Walker decided to improve the lines and provide space for more powerful machinery. In 1861 and 1862 the Revenge was flagship of the channel fleet under Rear Admiral Smart and Captain Charles Fellowes. She was also in the Mediterranean, and was the flagship for Admiral Yelverton in Valetta, Malta.
Lai Fong, attributed (Chinese Active circa 1870-1910)
The Jane Sprott was an iron barque with number 58900, built at Harrington in 1868 by R.W. Williamson & Son for J.B. Sprott of Mannering Road, Liverpool. She was 688 tons with dimensions 176' x 30' x 19'. Her signal letters were HPVJ. After 1890 she was owned by Jackson & Metcalf, also of Liverpool. She was bought by the Adelaide Steamship Company circa 1902, renamed Copeland Island, and then Copeland. She was used as a hulk in Albay until 1928, when she was scuttled on May 18, 1928 at Gull Rock, near Albany, Australia.
Abraham Hulk (Dutch 1813-1897)
Born in London in 1813, Abraham Hulk, Sr. was the most important member of the Hulk family of painters. He studied at the Amsterdam Academy and between 1833-1834 he visited America before returning to live in Holland. He became an established painter of marine subjects and regularly exhibited his work. He moved to London in 1870 where he remained for the rest of his life. Hulk’s skill at depicting atmosphere at sea mirrored that of the many artists of the Dutch Romantic School. Influenced by the Dutch artists of the 17th century, the Romantic painters excelled at scenes of everyday life which combined technical skill and attention to detail with a strong sensitivity to nature. These paintings were avidly sought after by the new middle class collectors of the 19th century, as they still are today. Hulk was equally skilful in painting a choppy sea with looming storm clouds as he was with this fine work of a calm estuary at sunset.
Frantz Landt (Danish 1885-1976)
Frants Georg Carl Landt was a Danish sailor, maritime pilot and painter. Born in 1885 to a fisherman and the daughter of a navigation teacher, Frants grew up on the sea. He attended Bogø Navigation school and obtained his mate’s certification in 1910, and from then regularly joined an expedition to Greenland.
By his own account, Landt was an artist from a young age, drawing around his hometown of Nysted as early as 5 or 6. He began actively drawing ships in 1912 at the encouragement of an acquaintance who was an English draftsman. He soon moved into oil painting, but it was not until 1930 that his paintings began to sell well. In 1932 he had his first exhibition in Copenhagen with 47 paintings of shipping scenes including modern and historical interpretations. From 1936 he exhibited at the Danish Royal Academy and the same year was selected as the marine painter to accompany King Christian X on his journey to Iceland and the Faroe islands. Again in 1952 he joined the Royal Yacht Danneborg, accompanying King Frederik IX on his voyage to Greenland and the North Sea. His reputation cemented, Landt continued to paint mostly by commission until his death in 1975.
Vilhelm Melbye (Danish 1824-1882)
This stunning work by renowned Danish marine artist Vilhelm Melbye depicts the famous steam frigate Sjaelland, known for its part in the naval battle of Jasmund during the Second Schleswig War on March 17, 1864. She was the middle of three sister ships, the Niels Juel, Sjaelland, and Jylland which were sail and screw propelled steam frigates as well as sailing ships, the world’s largest wooden war ships. Fregatten Jylland is preserved today as a museum in Ebeltoft, Denmark and considered a national treasure.
Vilhelm Melbye is one of Denmark’s most celebrated marine artists, the middle and best known of the three artistic brothers Anton, Vilhelm and Fritz. His early work produced in Copenhagen before travelling abroad consists mainly of views around the city harbours and the surrounding fishing villages, and he was one of the first artists to paint the coastal area of Skagen at the northern tip of Jutland. He preferred a realistic style, often depicting romantic or dramatic depictions of shipwrecks and adventures at sea. Read more here…
Johannes Christiaan Schotel (Dutch 1787-1838)
’Ship in a Turbulent Sea’ is a copy of, or possibly a sketch for, the painting by the same name in the Rijskmuseum in Amsterdam. Often compared to Ludolf Bakhuysen and Willem van de Velde the Younger, Schotel is regarded as one of the most important marine painters of Dutch romanticism. He excelled at capturing the effects of light and churning waters off the Dutch coast.
Joseph Roux (French 1725-1793)
Joseph Roux was the patriarch of a dynasty of French marine painters that spanned more than a century of the Golden Age of sailing. He was born in Marseille in 1725, the son of the hydrographer Joseph Roux and Magdalaine Senequier. Joseph took over the family business publishing, manufacturing and selling nautical charts, navigating instruments and related equipment. In the mid 19th century, he earned the royal warrant, Hydrographe du Roi, or hydrographer to the King. In 1764 he published an ambitious folio of twelve Mediterranean charts that were used frequently into the 19th century. Additionally, he published a smaller format digest that remained in publication for the next fifty-three years. Although his livelihood depended on the manufacture and sale of charts and instruments, he also drew and painted. However, very few of his artworks survive, suggesting that he could not dedicate much time to the pursuit, and it was his son and grandchildren who were to go on to become full-time artists. The Roux family artists included Joseph, Ange-Joseph Antoine Roux, Mathieu-Antoine, Ursule-Josephine, François Joseph Frédéric and François Geoffroi.
South Sea Whale Fishery, a 19th century hand coloured aquatint and engraving after a painting by W.J. Huggins, printed after the original printing of 1825.
Numbered "66" upper left and inscribed lower left "painted by W.J. Huggins marine painter to his MAJESTY, The Head of a large Whale in the Agonies of Death", lower centre "late London Published Jany 1 1825 by W.J.Huggins, Marine Painter, 105 Leadenhall Street. A Boat destroy'd by a Wounded Whale. A representation of the Ships Amelia Wilson & Castor off the Island of Bouro-with their Boats & Crew in the various process of Fishing, shewing the manner the Spermacetti Whales are caught also the mode of cutting them into the Ship & Boiling the Oil upon Deck; This Plate is most respectfully Dedicated to PH. Shelton And n Stirton & Wm Nichols Esqrs Owners of the said Ships by their most Obedient humble Servant W.J. HUGGINS London Published January 1, 1825 by W.J. Huggins, Marine Painter No. 105 Leadenhall Street (late from No. 36)" and lower right "Engraved by T. SUTHERLAND"
The Opium Ships at Lintin in China, 1824, a 19th century aquatint and engraving is after a painting by W. J. Huggins.Inscribed lower centre "LONDON PUBLISHED 1838, BY MR. HUGGINS, 105 LEADENHALL STREET." "THE OPIUM SHIPS AT LINTIN IN CHINA, 1824", "From a Painting in the possession of John Gover Esqre by W.J. HUGGINS, Marine Painter to His late Majesty William the 4th" and lower right "ENGRAVED BY E . DUNCAN."
Robert Dodd (British 1748-1816)
Showing three identifiable British naval ships "Defense", "Eagle" and "Worcester" probably on their way to the Battle off Pondicherry (June 20, 1783). Commissioned by Admiral Sir Andrew Mitchell (1757-1806) in 1797 who was at that time Captain of "Sultan" and was second in command at the Battle off Pondicherry. When Mitchell retired he moved to Canada where he became Commander in Chief of the Royal Naval Fleet in Halifax. In 1805 he married his second wife Mary Uniacke, eldest daughter of prominent Nova Scotian Attorney-General Richard John Uniacke. Mitchell was named Commander-In-Chief of the North America and West Indies Station in 1802, and raised to the rank of Admiral of the Blue in 1805. The couple moved to Bermuda where he died in 1806, subsequently Lady Mary Mitchell moved back to Halifax to the family estate. Lady Mitchell's Room is still a part of Uniacke House, now a historic site. This painting has been handed down through the family to the previous owner.