Friday, April 29, 2016

11 Paintings, Marine and Seascape Paintings - with footnotes -12

Martha Walter Am. 1875–1976 Gloucester Harbor:
Martha Walter Am. 1875–1976
Gloucester Harbor
Watercolor 
14 x 20 in. sight 35.6 x 50.8 cm

Martha Walter (March 19, 1875 – January 1976) was an American impressionist painter. A Philadelphia native, Walter studied art at the Pennsylvania Museum and School of Industrial Art from 1895–98 and at the Pennsylvania Academy of the Fine Arts, Philadelphia. She was taught by William Merritt Chase. She won the school's Toppan Prize and Cresson Traveling Scholarship. In 1909 also she won the school's Mary Smith Prize for the best painting by a resident female artist. On her scholarship she traveled to Spain Italy, the Netherlands and France. In France she received tuition from Rene Menard and Lucien Simon at the Académie de la Grande Chaumière.

She went on to teach art at Chase's New York School of Art. More


Charles Fromuth Am. 1858–1937
Soir de Peche, c. Octobre 1925
Pastel 
16 1/2 x 18 in. 41.9 x 45.7 cm


Charles Fromuth Am. 1858–1937
Sailing Under an October Clearing 1929
Pastel 

26 x 28 in. 66.0 x 71.1 cm

Charles Fromuth is an American painter born in 1866 in Philadelphia and died in 1937 at Concarneau. Charles Fromuth learned painting at the School of Fine Arts in Philadelphia under the direction of Thomas Eakins ; he discovers Europe and Paris in 1889. With the exception of a trip to the United States in 1910, he spent the rest of his life in Concarneau residing at the Hotel de France in this sardine port.

At the Universal Exhibition of 1900 , he discovered Japanese art, particularly Hokusai. Fromuth had the same view of nature that the Japanese, he worshiped the sea in all its forms. All his work is devoted to the craft of animation in the main port of Concarneau. "The movement is the thrust of my work," wrote Fromuth. He exhibited regularly in Europe, earning various awards and medals, until 1910. After that date, he devoted himself entirely to his hermit pastels and charcoal drawings depicting fleeing boats under sail. More


Charles Fromuth Am. 1858–1937
A Pot Boiler Effort
Pastel 
12 1/2 x 24 in. 31.8 x 61.0 cm

grubacs, carlo bateaux de pêche da | landscape | sotheby's pf1640lot8d9q9en:
Carlo Grubacs, 1812-1870
BOATS IN THE LAGUNA WITH A FLAG OF THE REPUBLIC OF SANTA MARIA, c. 1849
OIL ON CANVAS
50 x 62,5 cm ; 19 ¾ by 24 5/8 in


GRUBACS, Carlo, (b. 1812, Venezia, d. 1870, Venezia) is an Italian painter of animated urban waterscapes and architectural features. Carlo Grubacs was born in Venice in 1812. The son of a Merchant Navy captain whose family, originally from Montenegro, had settled in Italy in the second half of the 18th century, he belonged to the Venetian school of 'Vedutista' which had flourished with artists like Canaletto and Francesco Guardi in the 18th century.

He studied at the Academy of Fine Arts in Venice where he exhibited his works in 1847, 1855, 1858 and 1864. His paintings, often of a small size, offer carefully detailed and lively views of Venice, executed in the tradition of 19th century Venetian Vedute where the artist combines a smart and skillful drawing with a bright and luminous palette. More

navires dans la tempête | marine | sotheby's pf1640lot8tp3jen:
In the style of Matthieu van Plattenberg
SHIPS IN THE STORM 
Oil on paper 
51.5 x 60 cm; 20 1/4 by 23 5/8 in


Matthieu van Plattenberg, (1607 or 1608 – 19 September 1660) was a Flemish Baroque painter, draughtsman, etcher and engraver who specialized in marine paintings and landscapes. He spent most of his career abroad, first in Italy and then in France where he played an important role in the development of the painting of stormy seascapes. More

Follower of Peter van den Velde (Antwerp 1634-1687) A maritime engagement between the Dutch and the Spanish Netherlands
Follower of Peter van den Velde (Antwerp 1634-1687)
A maritime engagement between the Dutch and the Spanish Netherlands
oil on panel 
54.2 x 82.6cm (21 5/16 x 32 1/2in)


Spanish Netherlands (Spanish: Países Bajos españoles; Dutch: Spaanse Nederlanden) was the collective name of States of the Holy Roman Empire in the Low Countries, held in personal union by the Spanish Crown (Habsburg Spain) from 1581 to 1714. This region comprised most of modern Belgium and Luxembourg, as well as parts of northern France and Germany. The capital was Brussels.

The Imperial fiefs of the former Burgundian Netherlands had been inherited by the Austrian House of Habsburg from the extinct House of Valois-Burgundy upon the death of Mary of Burgundy in 1482. The Seventeen Provinces formed the core of the Habsburg Netherlands which passed to the Spanish Habsburgs upon the abdication of Emperor Charles V in 1556. When part of the Netherlands separated to form the autonomous Dutch Republic in 1581, the remainder of the area stayed under Spanish rule until the War of the Spanish Succession. More

After the death of the Spanish Habsburg King Charles II on 1 November 1700, his last will designated Louis XIV's second grandson Philip Duc d'Anjou as his successor. In spite of the protests of other powers the transition seemed to go smoothly at first. In September 1701 the grand alliance of the Hague was formed between the United Provinces, England and Emperor Leopold I, who had declared war in spring and thus started the War of the Spanish Succession. More

Peter van de Velde or Peter van den Velde (1634 – after 1723), was a Flemish Baroque marine painter who lived well into the 18th century. He was born in Antwerp where he became a master of the Guild of St. Luke in 1654. Between 1666 and 1680 he is recorded in the guild as having pupils. Between 1668 and 1675 he produced 50 paintings for the Antwerp art dealers Forchondt, who exported these to Vienna. 

Considering the great age that this painter is supposed to have reached, it is possible that the name Peter van de Velde refers actually to two painters, maybe a father and son pair who signed with the same name. A son of Peter van de Velde was baptized in Antwerp in 1687. He is known for marines in stormy seas.

Peter van de Velde died some time after 1723, the latest date discovered on one of his paintings. More

File:Het verbranden van de Engelse vloot voor Chatham - The Dutch burn down the English fleet before Chatham - June 20 1667 (Peter van de Velde).jpg
Peter van den Velde (1634–after 1723)
The burning of the English fleet off Chatham, 20 June 1667, circa 1670 (1667-1700)
The Royal Charles is right of center
Oil on panel
73 × 108 cm (28.7 × 42.5 in)
Rijksmuseum, Amsterdam, Netherlands


The Raid on the Medway during the Second Anglo-Dutch War in June 1667, sometimes called the Battle of the Medway, Raid on Chatham or the Battle of Chatham, was a successful and daring attack conducted by the Dutch navy deep upriver targeting the largest English naval battleships at a time when most were virtually unmanned and unarmed, laid up due to lack of funding in the fleet anchorages off Chatham Dockyard and Gillingham in the county of Kent. At the time, the fortress of Upnor Castle and a barrier chain called the 'Gillingham Line' were supposed to protect the mothballed naval ships anchored off Chatham, the main English naval base in southeastern Stuart England. More

Peter van den Velde (1634–after 1723), see above

File:Van Soest, Attack on the Medway.jpg
Pieter Cornelisz. van Soest (fl. 1642–1667)
Attack on the Medway, c. before 1667
Oil on canvas
Royal Greenwich Museums, London, United Kingdom


Attack on the Medway, June 1667 by Pieter Cornelisz van Soest, painted c. 1667. The captured ship Royal Charles is right of center.

Pieter Cornelisz van Soest (born ca. 1600-1620, flourished ca. 1640–67) was a Dutch marine artist, especially prolific in battle-pieces.

Little is known about him. In 1642 he became Poorter of Amsterdam where he was recorded until 1667. Among his subjects are the Battle of the Downs and the Second Anglo-Dutch War, particularly the Raid on the Medway. Van Soest also depicted the ships Comet Star and Eendracht. His paintings usually have a panoramic view of the battles. Van Soest rendered ships with delicate brushstrokes, while a light impasto is a feature of his skies. More

File:Van Soest, Four Days Battle.jpg
Pieter Cornelisz. van Soest (fl. 1642–1667)
Four Days Battle (June 1666)
Oil on canvas
940 x 1283 mm
Royal Greenwich Museums


Four Days Battle (June 1666), see above

Pieter Cornelisz. van Soest (fl. 1642–1667), see above

Montague Dawson
Running free - the Yankee Packet Dreadnought
20.08 X 24.02 in (51 X 61 cm)
Oil on canvas


 Although stated to be a medium clipper, Dreadnought's lines bore more resemblance to those of a contemporary packet than an ocean thoroughbred. Built by Currier & Townsend at Newburyport, Massachusetts, she was launched on 6th October 1853 and was ready for sea the following month. Her owners, the Red Cross Line, had ordered her for their New York to Liverpool service and, having chosen Captain Samuels as her master, they asked him to superintend her construction. The result was a fast and reliable ship that became known as "the wild boat of the Atlantic", a reputation also helped by Samuels' superb seamanship and his determination to drive her with the maximum sail whatever the weather. Curiously she broke no records but she maintained her Atlantic schedules with greater regularity than any other sailing packet then afloat. Between December 1853 and February 1864, she completed thirty-one round trips for the Red Cross Line, Captain Samuels remaining in command for all but the last voyage. In the summer of 1864, Dreadnought was sold but put onto the New York to San Francisco run where she remained for several years. On 28th April 1869 she sailed from Liverpool again, bound for San Francisco, but was wrecked on the island of Tierra del Fuego just prior to rounding Cape Horn. All of Dreadnought's officers and crew were saved but the ship herself was a total loss and cost her underwriters $83,000. We are grateful to Michael Naxton for his assistance with cataloguing this lot. More

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. More






Acknowledgement: Bonhams, Sotheby's

Images are copyright of their respective owners, assignees or others

Friday, April 22, 2016

20 Paintings by the Orientalist Artists, with foot notes, 6

Philippe-Jacques van Bree ANTWERP 1786 - 1871 BRUSSELS, BELGIUM SCHOOL GENTILE BELLINI À LA COUR DE MAHOMET II PHILIPPE-JACQUES VAN BREE; GIOVANNI BELLINI IN MAHOMET II'S COURT; SIGNED LOWER LEFT; OIL HEIGHTENED WITH GOLD ON PANEL Signed lower left P. van Bree Oil heightened with gold on panel  58.5 x 73.5 cm; 23 by 29 3/4 in:
Philippe-Jacques van Bree
ANTWERP 1786 - 1871 BRUSSELS, BELGIUM SCHOOL
PHILIPPE-JACQUES VAN BREE; GIOVANNI BELLINI IN MAHOMET II'S COURT; SIGNED LOWER LEFT; OIL HEIGHTENED WITH GOLD ON PANEL
Signed lower left P. van Bree
Oil heightened with gold on panel 
58.5 x 73.5 cm; 23 by 29 3/4 in

Sultan Mohammed II, famous conqueror who besieged and captured Constantinople in 1453, was an avid collector of works of art. He brought the famous Venetian painter Gentile Bellini (circa 1429-1507) in Constantinople, on the occasion of the peace agreements signed between the Republic of Venice and the Ottoman Empire in 1479. On that occasion, the famous Bellini executed portrait Mahomet II, now preserved in the National Gallery in London. More, (See below)

Philippe-Jacques van Bree (1786 - 1871), scholar of his brother Mattheas, was born at Antwerp in 1786. He studied at Antwerp, in Paris (where he became a scholar of Girodet), and at Rome; and also visited Germany and England. He employed himself on historical, fancy, and architectural subjects. Of the last, the Belgian Government purchased his 'View of the Interior of the Church of St. Peter at Rome,' and presented him with a gold medal in addition to the price. He was made conservator of the Museum at Brussels, where he died in 1871. More

Portrait de Mehmed II par Gentile Bellini (1479).
Gentile Bellini (1429–1507) 
العربية: بورتريه للسلطان محمد الفاتح للرسام جنتيلي بلليني, 1480
The Portrait of Ottoman Sultan Mehmed the Conqueror by İtalian painter Gentile Bellini, 1480.
Oil on canvas
Height: 69.9 cm (27.5 in). Width: 52.1 cm (20.5 in).
National Gallery 

The attribution to Bellini is not proved, but the sitter is reasonably identified as Mehmet II (1432 - 1481). Gentile Bellini visited his court in Constantinople. There is insufficient evidence for deciding whether the picture is a copy or a very damaged original."

FRENCH SCHOOL OF NINETEENTH CENTURY FEMMES ET ENFANTS DANS UNE COUR INTÉRIEURE *** DURAND; WOMEN AND CHILDREN IN A COURTYARD; SIGNED LOWER RIGHT; WATERCOLOR ON PAPER; SEE ILLUSTRATION ON THE NEXT PAGE Signed lower right Durand Watercolour on paper  48 x 39.5 cm; 18 7/8 by 15 1/2 in:
Jean-Baptiste Henri Durand-Brager
FRENCH SCHOOL OF NINETEENTH CENTURY
WOMEN AND CHILDREN IN A COURTYARD
Signed lower right Durand
Watercolour on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Art historian Marion Vidal-Bue was born and lived in Algiers until its independence. She comes from a family of builders established in the country in 1832. She has written books on painters of Algeria, especially to witness the artistic importance and influence of her native country at the time of the French presence. 

She participated in the artistic illustration of the works of the Scientific Exploration of Algeria, published in 1844-1867, commissioned by the Minister of War in 1837. These watercolours form a rare and interesting set which shows scenes of life in Algiers 1830-1840 years; in the early days of the arrival of the French in Algeria. 

ECOLE FRANÇAISE DU XIXE SIÈCLE FEMMES DANS UN INTÉRIEUR AVEC UNE NOURRICE S'OCCUPANT D'UN BÉBÉ *** DURAND; WOMEN IN AN INTERIOR WITH A SITTER NURSING A BABY; SIGNED LOWER LEFT; WATERCOLOR ON PAPER; SEE ILLUSTRATION ON THE NEXT PAGE Signé en bas à gauche Durand Aquarelle sur papier 48 x 39,5 cm ; 18 7/8 by 15 1/2 in:
Jean-Baptiste Henri Durand-Brager
FRENCH SCHOOL OF NINETEENTH CENTURY
WOMEN IN AN INTERIOR WITH NURSE CONCERNED FOR A BABY 
Signed lower left Durand
Watercolour on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Durand FRENCH SCHOOL OF NINETEENTH CENTURY SCÈNE DE CAFÉ *** DURAND; SCENE IN A CAFE; SIGNED LOWER LEFT; WATERCOLOR ON PAPER Signed lower left Durand Watercolour on paper  48 x 39.5 cm; 18 7/8 by 15 1/2 in:
FRENCH SCHOOL OF NINETEENTH CENTURY
SCENE IN A CAFE
Signed lower left Durand
Watercolour on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Durand FRENCH SCHOOL OF NINETEENTH CENTURY DANSEUSE ET MUSICIENNES *** DURAND; DANCER AND MUSICIANS; SIGNED, SITUATED AND DATED LOWER LEFT ALGER 1840 (?); WATERCOLOR ON PAPER; SEE ILLUSTRATION ON PREVIOUS PAGE Signed, located and dated lower left Durand Algiers in 1840 (?)  Watercolour on paper  48 x 39.5 cm; 18 7/8 by 15 1/2 in:
FRENCH SCHOOL OF NINETEENTH CENTURY
DANCER AND MUSICIANS
Signed, located and dated lower left Durand Algiers in 1840 (?) 
Watercolour on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Durand FRENCH SCHOOL OF NINETEENTH CENTURY FÊTE DE NUIT DANS UN PALAIS *** DURAND; RECEPTION BY NIGHT IN A PALACE; SIGNED LOWER LEFT; WATERCOLOR ON PAPER. SEE ILLUSTRATION ON PREVIOUS PAGE. Signed lower left Durand Watercolour on paper  48 x 39.5 cm; 18 7/8 by 15 1/2 in:
FRENCH SCHOOL OF NINETEENTH CENTURY
RECEPTION BY NIGHT IN A PALACE
Signed lower left Durand
Watercolour on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Durand ECOLE FRANÇAISE DU XIXE SIÈCLE MUSICIENS ET DANSEUSES AFRICAINES DANS LA COUR D'UN PALAIS *** DURAND; MUSICIANS AND AFRICAN DANCERS IN THE COURTYARD OF A PALACE; WATERCOLOR ON PAPER Aquarelle sur papier 48 x 39,5 cm ; 18 7/8 by 15 1/2 in:
FRENCH SCHOOL OF NINETEENTH CENTURY 
MUSICIANS AND AFRICAN DANCERS IN THE COURTYARD OF A PALACE
Watercolor on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Durand ECOLE FRANÇAISE DU XIXE SIÈCLE LES ACROBATES *** DURAND; ACROBATS; SIGNED LOWER RIGHT; WATERCOLOR ON PAPER Signé en bas à droite Durand Aquarelle sur papier 25,5 x 40 cm ; 10 by 15 3/4 in:
FRENCH SCHOOL OF NINETEENTH CENTURY
ACROBATS
Signed lower right Durand
Watercolour on paper 
25.5 x 40 cm; 10 by 15 3/4 in

Jean-Leon Gerome VESOUL 1824 - 1904 PARIS STUDY FOR A MOORISH BATH, TURKISH WOMAN IN BATH  JOHN LEON GÉRÔME; STUDY FOR A Moorish BATH, TURKISH WOMAN BATHING; SIGNED AND DEDICATED LOWER LEFT HIS FRIEND BOURGAIN GÉRÔME JL; OIL ON CANVAS Signed and dedicated lower left To his friend Bourgain JL Gérôme Oil on canvas  50.5 x 40.5 cm; 20 by 16 in:
Jean-Leon Gerome
VESOUL 1824 - 1904 PARIS
STUDY FOR A MOORISH BATH, TURKISH WOMAN IN BATH 
Signed and dedicated lower left To his friend Bourgain JL Gérôme
Oil on canvas 
50.5 x 40.5 cm; 20 by 16 in

This study is a preparatory sketch for the large painting (81,5 x 65,5cm) A Moorish bath, Turkish woman bathing, painted in the 1870s and kept in a private collection (See Below). There are some other known preparatory studies: a drawing of the same composition and the same dimensions as our sketch and two oil sketches, larger format than the one presented here.

For Gérôme, a good academician, the creative process was primarily intellectual. He reflected on a conception of the final composition, which he then seized on an initial study that was the basis for the further work. This  is probably the first study of a Turkish bath, a Turkish woman bathing, which explains its freshness and spontaneity.
Gérôme worked hard on the silhouette and the attitude of the nude bather.

In all known studies to a Turkish bath, a Turkish woman bathing, the African servant is outlined. It is only in the finished work that the face appears clearly. 

Gérôme tried to create an intense psychological relationship between bather's surprise at a specific time of her dress, and her maid; he is leaning over the basin, hands resting on the edge, tense, waiting impatiently for the moment when she will feel, just out of the bath, the delicious sensation of cold foam soap.


Studies and sketches of Gerome oils were often completed by other painters, to make them more commercial. Our sketch was lucky to escape the retouching and remain intact, unaltered and entirely Gérôme's hand. More

Jean-Léon Gérôme (11 May 1824 – 10 January 1904) was a French painter and sculptor in the style now known as Academicism. The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits and other subjects, bringing the Academic painting tradition to an artistic climax. He is considered one of the most important painters from this academic period, and in addition to being a painter, he was also a teacher with a long list of students. More

Jean-Leon Gerome
VESOUL 1824 - 1904 PARIS
A MOORISH BATH, TURKISH WOMAN IN BATH, 1885
The final painting

Frederik-Jan-Pieter Portielje AMSTERDAM 1829 - 1895 ANTWERP, DUTCH SCHOOL JEUNE FILLE EN COSTUME MOYEN-ORIENTAL JAN-FREDERICK-PIETER PORTIELJE; YOUNG LADY WEARING A MIDDLE-EASTERN COSTUME; SIGNED LOWER RIGHT; OIL ON PANEL Signed lower right Portielje Oil on panel  59 x 48 cm; 23 1/4 by 18 7/8 in:
Frederik-Jan-Pieter Portielje
AMSTERDAM 1829 - 1895 ANTWERP, DUTCH SCHOOL
YOUNG LADY WEARING A MIDDLE-EASTERN COSTUME
Signed lower right Portielje
Oil on panel 
59 x 48 cm; 23 1/4 by 18 7/8 in

Jan Frederik Pieter Portielje (Amsterdam, 1829 - 1908) was a Dutch-Belgian painter. He was the tenth child by Gerrit Portielje, bookseller and publisher in Amsterdam, and Jacoba Zeegers. He studied at the Academy of Amsterdam from 1842 to 1849 with, among others, Valentine Bing and Jan von Braet Uberfeldt. Between 1851 and 1853 he stayed several times for extended periods of time in Paris, possibly during the summer months when the Academy was closed due to holidays. He also worked as a portraitist and as such had a growing clientele in Brussels and Antwerp.

His oeuvre includes portraits, scenes of elegant ladies in gardens, parks, or luxurious interiors. The interiors are either heavy or elegant neo-Baroque Napoleon III. He painted Western and Southern or Oriental women, often adorned with jewels. His painting are realistic, with an eye for detail and texture, intended as an elegant genre painting without much depth.

On some paintings he collaborated with another artist. There are paintings known, together with Frans Lebret (1820-1909) and Eugène Remy Maes (1849-1931).


After his studies Portielje remained in Antwerp. He married there in 1853. More

Emile Régnault de Maulmain LONS-LE-SAUNIER 1836 - 1897 NEVY-SUR-SEILLE SCÈNE DE MARCHÉ DANS UNE RUE EMILE RÉGNAULT DE MAULMAIN; MARKET SCENE IN A STREET; SIGNED AND DATED LOWER RIGHT '78; OIL ON CANVAS Signed and dated lower right G. Regnault '78 Oil on canvas  55.5 x 40.8 cm; 21 7/8 by 16 in:
Emile Régnault de Maulmain
LONS-LE-SAUNIER 1836 - 1897 NEVY-SUR-SEILLE
MARKET SCENE IN A STREET
Signed and dated lower right G. Regnault '78
Oil on canvas 
55.5 x 40.8 cm; 21 7/8 by 16 in

Emile Regnault de Maulmain LONS-LE-SAUNIER 1836 - 1897 NEVY-SUR-SEILLE LA HALTE À L'OASIS EMILE REGNAULT DE MAULMAIN ; THE REST IN THE OASIS ; SIGNED LOWER LEFT ; OIL ON CANVAS Signed lower left Regnault Oil on canvas  47 x 73 cm; 18 1/2 by 28 3/4 in:
Emile Regnault de Maulmain
LONS-LE-SAUNIER 1836 - 1897 NEVY-SUR-SEILLE
THE REST IN THE OASIS
Signed lower left Regnault
Oil on canvas 
47 x 73 cm; 18 1/2 by 28 3/4 in

Maulmain Emile Regnault, 1836-1897, French school. Maulmain was a pupil of Miss Lamotte Lobrichon and Alberto Pasini. He exhibited at the Salon from 1863 until 1882, especially scenes of Algeria.



Georges Washington MARSEILLE 1827 - 1910 PARIS SCÈNE DE COMBAT GEORGES WASHINGTON; BATTLE SCENE; SIGNED LOWER LEFT; OIL ON CANVAS Signé en bas à gauche G. Washington Huile sur toile 46 x 55 cm ; 18 1/8 by 21 2/3 in:
Georges Washington
MARSEILLE 1827 - 1910 PARIS
BATTLE SCENE;
Signed lower left G. Washington
Oil on canvas 
46 x 55 cm; 18 1/8 by 21 2/3 in

Georges Washington  1827 - 1910.  Pupil of Francois Picot, Washington exhibited  in the years 1857 to 1901 almost exclusively with oriental scenes. He received in 1893 a medal. He had become primarily known as a painter of horses. Works his hand in Dunkirk, Limoges and LiIle in public collections.. He traveled to North Africa where he brought many views of Algeria and Morocco. He executed many animated scenes of horses rearing, which earned him a great reputation.

Henri Rousseau CAIRO 1875 - 1933 AIX EN PROVENCE THE FANTASIA OF NEMENCHAS, ALGERIA  HENRI-EMILIEN ROUSSEAU; NEMENCHAS FANTASIA, ALGERIA; SIGNED AND DATED LOWER LEFT AND TITLED ON THE BACK; ON THE BACK, WITH BEARS LABELS NUMERS; OIL ON CANVAS Signed and dated lower left Henri Rousseau '19; titrated back; the back door of old numbers 14, 804 and 3838 Oil on canvas 65 x 92 cm; 25 5/8 by 36 1/4 in:
Henri Rousseau
CAIRO 1875 - 1933 AIX EN PROVENCE
THE FANTASIA OF NEMENCHAS, ALGERIA 
Signed and dated lower left Henri Rousseau 
Oil on canvas 
65 x 92 cm; 25 5/8 by 36 1/4 in

Rousseau creates a  fantasy he chooses to place on the plateau of Nemenchas, Algeria. The tight framing on the group of riders launched in full immerses the viewer in the scene. The proximity thus created communicates a feeling of intense movement. The determination and pride of the riders and their horses, some of which rear up in a frenzy, is beautifully rendered in vibrant color buttons.

Henri Rousseau Henry, Emilien Rousseau (Cairo 1875 - Aix-en-Provence in 1933) is an Orientalist painter. A pupil of Jean-Léon Gérôme at the Beaux Arts in Paris, he won the second Grand Prix de Rome in 1900 and a travel grant at the Salon of French Artists. He traveled to Belgium, the Netherlands, North Africa, Spain and Italy where he admired the great masters (Rubens, Rembrandt, Velasquez, Murillo, the Titian, Raphael etc ...)

After this initiatory journey, he settled in Versailles and set up his studio at the Villa des Arts in Paris. In 1919 he moved to Aix in Provence with his large family (seven children). Knight of the Legion of Honour in arts. His work  is dedicated to Tunisia, Algeria and especially Morocco, Provence and the Camargue remained its anchor points. His success was with a bourgeois and wealthy clientele, where he sold his work at numerous exhibitions in Paris, Brussels, Stockholm, Marseilles. More

Jules-Pierre van Biesbroeck PORTICI 1873 - 1965 BRUXELLES, ECOLE BELGE FEMME À L'AMPHORE JULES-PIERRE VAN BIESBROECK; WOMAN CARRYING AN AMPHORA; SIGNED LOWER LEFT; OIL ON PANEL Signé en bas à gauche Van Biesbroeck Huile sur panneau 58 x 32,4 cm ; 22 4/5 by 12 1/4 in:
Jules-Pierre van Biesbroeck
PORTICI 1873 - 1965 BRUXELLES, ECOLE BELGE
WOMAN CARRYING AN AMPHORA
Signed lower left Van Biesbroeck
Oil on panel 
58 x 32.4 cm; 22 4/5 by 12 1/4 in

Jules Pierre van Biesbroeck (1873 - 1965) was a Belgian painter of landscapes and portraits, as well as sculptures.

He gained his artistic skills from his father Jules Evarist van Biesbroeck. He studied at the Academy of Fine Arts in Ghent.  Debuted in 1888 at the Salon des Champs-Elysées in Paris with his large-format painting "Le lancement d'Argos", which created a scandal. He was like his father, a professor of the Academy in Ghent. On a  trip to North Africa in 1926, he began to treat themes of the Orient. He experimented mainly with light effects in his paintings. Until 1935 he also maintained a studio in Algiers.

JP van Biesbroeck also had intensive contacts with the Socialist Workers' Movement in Ghent.


Attributed to George Derville Rowlandson 1861 - 1928, ENGLISH SCHOOL CAVALIERS SORTANT PAR UNE PORTE FORTIFIÉE ATTRIBUTED TO GEORGE-DERVILLE ROWLANDSON; CAVALIERS COMING OUT OF A FORTIFIED GATE; SIGNED AND DATED LOWER LEFT 1888; OIL ON CANVAS Signed and dated lower left GD Rowlandson 1888 Oil on canvas  83.5 x 61 cm; 32 7/8 by 24 in:
Attributed to George Derville Rowlandson
1861 - 1928, ENGLISH SCHOOL
CAVALIERS COMING OUT OF A FORTIFIED GATE
Signed and dated lower left GD Rowlandson 1888
Oil on canvas 
83.5 x 61 cm; 32 7/8 by 24 in

George Derville Rowlandson (1861–1928) was a British painter. He is best known for his equestrian portraits. Some of his work can be found at the Museum of Polo and Hall of Fame in Lake Worth, Florida.

Rowlandson was born in India in 1861 and studied art at Gloucester Art School, Westminster and Paris. He exhibited at the Royal Institute of Painters in Watercolour between 1911 and 1918 from 22 Priory Road, Bedford Park, London. He contributed illustrations to The Illustrated London News and the English llustrated Magazine, his work being mostly military or equestrian subjects, and a number of hunting scenes. More

Emmanuel Dieudonné GENEVA 1845 - 1889, SWISS SCHOOL OF NINETEENTH CENTURY LE MARCHAND D'ESCLAVES EMMANUEL DE DIEUDONNÉ; THE SLAVE MERCHANT; OIL ON CANVAS, UNFRAMED Oil on canvas, unframed  42 x 61 cm; 16 1/2 by 24 in:
Emmanuel Dieudonné
GENEVA 1845 - 1889, SWISS SCHOOL OF NINETEENTH CENTURY
THE SLAVE MERCHANT
Oil on canvas, unframed 
42 x 61 cm; 16 1/2 by 24 in

This is a preparatory sketch for the large painting, signed lower left E. DIEUDONNE, kept at the National Federation of André Maginot, Paris. A pupil of Cabanel, Emmanuel Dieudonné exhibited at the Salon from 1876. He made ​​many Orientalists compositions.

Karl Wilhelm Gentz- NEURUPPIN 1822 - 1890 BERLIN, ÉCOLE ALLEMANDE CHASSEURS NUBIENS KARL-WILHELM GENTZ; NUBIAN HUNTERS; SIGNED LOWER RIGHT; OIL ON CANVAS Signed lower right W. Gentz ​​Oil on canvas  166 x 139 cm; 65 1/3 by 54 3/4 in:
Karl Wilhelm Gentz-
NEURUPPIN 1822 - 1890 BERLIN, ÉCOLE ALLEMANDE
NUBIAN HUNTERS
Signed lower right W. Gentz
​​Oil on canvas 
166 x 139 cm; 65 1/3 by 54 3/4 in

Karl Wilhelm Gentz ​​(1822 - 1890) was a German painter. The second child of Johann Christian Gentz. Initially enrolled at Berlin's Friedrich Wilhelm University, he decided at age 21 to study painting. He attended the prestigious Atelier Kloeber and studied in 1845 for nine months at the Antwerp Academy of Fine Arts. He entered the school Atelier Paul Delaroche, which was then under the direction of Charles Gleyre. In 1847 he traveled to Spain and Morocco Returning to Paris, he painted The Prodigal Son in the desert, a life-size figure. In 1850 he went to Marseille and Malta, then Egypt and the Sinai; on his way back he traveled over Asia Minor, the Greek archipelago, Constantinople and Vienna.

In 1852, while living temporarily in Berlin, his first paintings of  oriental life emerged: "Slave Market" and "Egyptian School".  Not satisfied, Gentz returned to Paris and joined the studio of Thomas Couture. There painted two religious images with life-size figures, Christ and Magdalene and Simon and Chris.


In 1858, again in Berlin, he created a long series of Oriental Paintings, mostly Egyptian, for the Berlin Academy of Fine Arts. The oeuvre of the artist are very large; sometimes the figures are primarily, the character of the land and people are sharply defined. More





Images are copyright of their respective owners, assignees or others
Acknowledgement: Sothebeys

Friday, April 1, 2016

18 Classic Works of Art, Marine and Seascape Paintings - with footnotes -11

Derek George Montague Gardner (British, 1914-2007) The battle between the H.M.S. Shannon and the U.S.S. Chesapeake 13-1/4 x 19 in. (33.6 x 48.2 cm.), sight. [not examined out of the frame]
DEREK GEORGE MONTAGUE GARDNER, (British, 1914-2007)
The battle between the H.M.S. Shannon and the U.S.S. Chesapeake 
Oil on Canvas
13-1/4 x 19 in. (33.6 x 48.2 cm.)

This painting: During the War of 1812, the duel between the Royal Navy's frigate H.M.S. Shannon and the American frigate Chesapeake became a critical moment of the war. Cruising off the eastern seaboard in May, Captain Philip Broke of the Shannon had spotted the American frigates Chesapeake and Constitution refitting in Boston. Broke immediately challenged Captain Lawrence of the Chesapeake to come out and fight, sending a verbal challenge. However, this challenge went unanswered and Broke soon began to despair of Chesapeake ever leaving the harbor, and so he later sent a written challenge, and at noon on 1st June 1813, the Chesapeake stood out of Boston Roads for battle. A furious action followed lasting a mere fifteen minutes; Captain Broke was mortally wounded leading his boarding party, and casualties on both vessels were very high. Soon overwhelmed, Chesapeake surrendered and Shannon took her as a prize into Halifax, Nova Scotia.


Derek George Montague Gardner (13 February 1914 – 11 February 2007) is best known as an English painter. After a career as a civil engineer before and after serving in the Royal Navy in the Second World War, he became widely recognised as one of the leading English painters of marine subjects.

He was educated at Oundle School, where he won a prize for his drawing. He left school in 1931, and trained as a civil engineer in Glasgow with the London Midland & Scottish Railway. He later joined Sir William Arrol & Co. He joined the RNVR as a 20-year-old midshipman, and took up painting watercolours of warships. He became a docks engineer at North Shields in 1938. More

Derek George Montague Gardner (British, 1914-2007) The H.M.S. Suberb 9-1/2 x 13-3/4 in. (24.1 x 34.9 cm.), sight. [not examined out of the frame]
Derek George Montague Gardner (British, 1914-2007)
The H.M.S. Suberb 
Watercolor on paper
9-1/2 x 13-3/4 in. (24.1 x 34.9 cm.)

HMS Superb was a 74-gun Bellona-class third-rate ship of the line of the Royal Navy, launched on 27 October 1760 at Deptford Dockyard. The Superb was Admiral Edward Hughes's flagship in India in 1782 during a notable series of engagements with the French under Suffren.

On 20 June 1783 Bellona took part in the Battle of Cuddalore before returning to Bombay for copper sheathing along her hull. On 7 November she developed a severe leak through the sheathing into the bilge, and sank in Tellicherry Roads off the Bombay coast. More

Derek George Montague Gardner (British, 1914-2007) The H.M.S. Royal Sovereign off of Fort Manoel, Valletta, Malta 13-1/2 x 20 in. (34.2 x 50.8 cm.), sight. [not examined out of the frame]
Derek George Montague Gardner (British, 1914-2007)
The H.M.S. Royal Sovereign off of Fort Manoel, Valletta, Malta 
Watercolor on paper
13-1/2 x 20 in. (34.2 x 50.8 cm.

HMS Royal Sovereign was a 100-gun first rate ship of the line of the Royal Navy, which served as the flagship of Admiral Collingwood at the Battle of Trafalgar (see below). She was the third of seven Royal Navy ships to bear the name. Designed by Sir Edward Hunt, she was launched at Plymouth Dockyard on 11 September 1786, at a cost of £67,458, and was the only ship built to her draught. She was known by her crew as the "West Country Wagon" due to her poor manoeuvrability and speed. More

File:Nicholas Pocock, The Day after Trafalgar – The 'Victory' Trying to Clear the Land with the 'Royal Sovereign' in Tow to the 'Euryalus' (1810).jpg
Nicholas Pocock (1740–1821)
H.M.S. Euryalus, c. 1810
Watercolor and pen with black Indian ink on paper
17.6 × 27.5 cm (6.9 × 10.8 in)
National Maritime Museum, London, United Kingdom

Storm, the Day after the Battle of Trafalgar, the "Victory" under courses endeavouring to Clear the Land. The "Royal Sovereign" in Tow by the "Euryalus". The view is towards the coast of Spain off Cadiz, with the lighthouse at Rota in the centre left distance, and 'Victory' heading towards it in stern view over the tow-line. To the right are disabled enemy ships, including prizes, some being cast away in the post-Trafalgar storm. More

HMS Euryalus was a Royal Navy 36-gun Apollo-class frigate, which saw service in the Battle of Trafalgar and the War of 1812. During her career she was commanded by three prominent naval personalities of the Napoleonic and post-Napoleonic period, Henry Blackwood, George Dundas and Charles Napier. After the end of the Napoleonic Wars she continued on active service for a number of years, before spending more than two decades as a prison hulk. She ended her career in Gibraltar where, in 1860, she was sold for breaking up. More

HMS Victory is a 104-gun first-rate ship of the line of the Royal Navy, ordered in 1758, laid down in 1759 and launched in 1765. She is best known as Lord Nelson's flagship at the Battle of Trafalgar in 1805.

She was also Keppel's flagship at Ushant, Howe's flagship at Cape Spartel and Jervis's flagship at Cape St Vincent. After 1824, she served as a harbour ship.

In 1922, she was moved to a dry dock at Portsmouth, England, and preserved as a museum ship. She has been the flagship of the First Sea Lord since October 2012 and is the world's oldest naval ship still in commission. More

Nicholas Pocock (2 March 1740 – 9 March 1821) was a British artist known for his many detailed paintings of naval battles during the age of sail. Pocock was born in Bristol in 1740, the son of a seaman. He followed his father's profession and was master of a merchant ship by the age of 26. During his time at sea, he became a skilled artist by making ink and wash sketches of ships and coastal scenes for his log books.

In 1778, Pocock's employer, Richard Champion, became financially insolvent due to the effects of the American Revolutionary War on transatlantic trade. As a result, Pocock gave up the sea and devoted himself to painting. The first of his works were exhibited by the Royal Academy in 1782.

Later that year, Pocock was commissioned to produce a series of paintings illustrating George Rodney's victory at the Battle of the Saintes. In 1789, he moved to London, where his reputation and contacts continued to grow. He was a favourite of Samuel Hood and was appointed Marine Painter to King George.


Pocock's naval paintings incorporated extensive research, including interviewing eyewitnesses about weather and wind conditions as well as the positions, condition, and appearance of their ships; and drawing detailed plans of the battle and preliminary sketches of individual ships. He was also present himself at the Glorious First of June in 1794, on board the frigate HMS Pegasus.

In addition to his large-scale oil paintings depicting naval battles, Pocock also produced many watercolours of coastal and ship scenes. More


Derek George Montague Gardner (British, 1914-2007) Nelson's Santa Cruz Squadron 15 x 20 in. (38.1 x 50.8 cm.), sight. [not examined out of the frame]
DEREK GEORGE MONTAGUE GARDNER, (British, 1914-2007)
Nelson's Santa Cruz Squadron
Watercolor on paper
15 x 20 in. (38.1 x 50.8 cm.)

The Battle of Santa Cruz de Tenerife was an amphibious assault by the Royal Navy on the Spanish port city of Santa Cruz de Tenerife in the Canary Islands. Launched by Rear-Admiral Horatio Nelson on 22 July 1797, the assault was defeated, and on 25 July the remains of the landing party withdrew under a truce, having lost several hundred men. Nelson himself had been wounded in the arm, which was subsequently partially amputated: a stigma that he carried to his grave as a constant reminder of his failure. More

File:Sir Horatio Nelson when wounded at Teneriffe.jpg
Richard Westall (1765–1836)
Nelson wounded at Tenerife, 24 July 1797, c. 1806
Oil on canvas
86.6 × 71 cm (34.1 × 28 in)
National Maritime Museum, London, United Kingdom

In the painting, Nelson's barge is shown beached in the surf, in port-bow view. Hit on the point of landing he reeled and staggered back into the boat where he lies, having transferred his sword to his left hand. He is supported by a sailor and there is blood on the sailor's shirt and on the lining of Nelson's coat. Lieutenant Josiah Nisbet, Nelson's stepson, stands behind him and is saving his life by staunching the blood. Behind him and to the left are two other lieutenants. Also in the barge and to the right of the group is a third lieutenant grasping a boarding pike, with two sailors behind him. In the left foreground standing in the shallow water is Captain Thompson, arms outstretched towards Nelson, together with another lieutenant. In the left background is a bow view of another boat approaching the beach. In the right foreground the artist has used the waves to enhance the dramatic impact. Westall has conveyed the staged effect by employing a dramatic language of gesture and expression. This painting of the incident was made in 1806. It was commissioned by John M'Arthur, as a plate for 'The Life of Admiral Lord Nelson, KB', which he published with James Stanier Clarke in 1809, and which was the first major biography of Nelson. More

Richard Westall RA (2 January 1765 – 4 December 1836) was an English painter and illustrator of portraits, historical and literary events, best known for his portraits of Byron. He was also Queen Victoria's drawing master. Born oin Reepham near Norwich, Richard Westall moved to London after the death of his mother and the bankruptcy of his father in 1772. Westall was apprenticed to a heraldic silver engraver in 1779, where he was encouraged to become a painter by John Alefounder; he then began studying at the Royal Academy School of Arts from 10 December 1785. He exhibited at the Academy regularly between 1784 and 1836, became an Associate in November 1792 and was elected an Academician on 10 February 1794. From 1790 to 1795 he shared a house with Thomas Lawrence (later Sir), the future Royal Academy president, each of the artists placing their name on one of the entrances. More

Samuel Atkins (British, fl.1787-1808)
The loss of the Romney 
watercolor and pencil, heightened with body color 
9-1/4 x 13-3/4 in. (23.4 x 34.9 cm.),

The loss of the Romney, 50 guns off the Texel on the evening of November 19th 1804. Showing the flag of truce run up when calling on enemy boats for assistance.

HMS Romney was a 50-gun fourth rate of the Royal Navy. She served during the American War of Independence, and the French Revolutionary and Napoleonic Wars in a career that spanned forty years.

Launched in 1762, the Romney spent most of her early career in North American waters, serving on the Newfoundland station, often as the flagship of the commander-in-chief. The ship was involved in the tensions leading up to the American Revolution when she was sent to support the Boston commissioners enforcing the Townshend Acts in 1768. Her actions involved impressing local sailors, confiscating a vessel belonging to John Hancock and providing a refuge for the unpopular commissioners when rioting broke out. She remained in American waters for part of the ensuing war, but towards the end operated in European waters after the French entry to the conflict.


The Romney was laid up in ordinary or under repair for most of the subsequent years of peace, but returned to active service on the outbreak of war with Revolutionary France. She was in the Mediterranean supporting Lord Hood's occupation of Toulon in 1793, and remained there for several years. During this time she captured the 44-gun French Sibylle. The Romney briefly returned to North America and then served in the Red Sea. Assigned to blockade the Dutch coast, the Romney ran aground in November 1804 while sailing to join the fleet off Den Helder. She broke up after attempts to float her off failed. More

Samuel Atkins (fl. 1787–1808), was a British marine painter. Atkins contributed to the Royal Academy between 1787 and 1796. From 1796 to 1804 he was in the East Indies, when he returned to England, and continued to exhibit until 1808. He worked in oil and water-colour. The water-colour collections of South Kensington and the British Museum have each an example of his work. It is rather early in manner, low in tone, quiet, and truthful. A picture of ‘Shakespeare's Cliff, Dover,’ has been engraved after him by R. and D. Havell. Nagler attributes to this Samuel Atkins the originals of two engravings of sea-subjects after ‘— Atkins:’ ‘Ships in Sight of Harbour,’ engraved in aquatint by H. Merke; and ‘A Sea Piece,’ by F. Janinet. A water-colour drawing also, ‘Seascape with Ships,’ he gives to this painter. More

Samuel Atkins (British, fl.1787-1808) The blockade of Toulon 14-1/2 x 21 in. (36.8 x 53.3 cm.), sight. [not examined out of the frame]
Samuel Atkins (British, fl.1787-1808)
The blockade of Toulon
depicting three British frigates on a reach, holding a battle line.
signed lower left: "Atkins"
watercolor on paper
14-1/2 x 21 in. (36.8 x 53.3 cm.)

The Action of 5 November 1813 was a brief naval clash during the Napoleonic Wars, between part of the British Mediterranean Fleet led by Vice-Admiral Sir Edward Pellew, and a French force under Rear-Admiral Julien Cosmao-Kerjulien. The engagement took place outside the French port of Toulon.

The clash occurred when a French fleet under Vice-Admiral Maxime Julien Émeriau de Beauverger took advantage of a favourable wind and the temporary absence of the British blockading force, to leave port to carry out exercises. Émeriau abandoned the exercises when the wind changed, but while returning to port his rear came under attack from the recently returned British inshore squadron. The British attack was reinforced by newly arrived ships from the main fleet, but the French were able to escape into Toulon after exchanging cannon fire with the British. Casualties on both sides were light. More

Blockade of Toulon, 1810-1814.jpg
Thomas Luny (1759–1837)
Blockade of Toulon, 1810-1814: Pellew's action, 5 November 1813, c. 1830
Oil on canvas
85.1 × 128.3 cm (33.5 × 50.5 in)
National Maritime Museum, London , United Kingdom

Thomas Luny (1759–1837), born in Cornwall, was an English artist and painter, mostly of seascapes and other marine-based works. At the age of eleven, Luny left Cornwall to live in London. There he became the apprentice of Francis Holman, a marine painter who would have a great and long lasting artistic influence on Luny.

In September 1777, Luny left Holman's studio for a while, to journey to France. It was around this time that Luny was frequently exhibiting at the Royal Academy, in a total of twenty-nine exhibitions between 1780 and 1802. In Leadenhall Street, Luny became acquainted with a "Mr. Merle", a dealer and framer of paintings who promoted Luny's paintings for over twenty years, to great success. Luny also found a wealthy source of business in Leadenhall Street, where the British East India Company had their headquarters; their officers commissioned many paintings and portraits from Luny. This relationship between the Company and Luny also had several non-monetary benefits for Luny; it seems probable that, considering the great detail and realistic look of many of his sketches of locations such as Naples, Gibraltar, and Charleston, South Carolina, Luny was occasionally invited as a guest on the Company's ships on special occasions and voyages.

Several years later, in 1807, Luny decided to move again, this time to Teignmouth in Devon. There he received a number of commissions, and he continued to be as successful in his work as he had been in London. Luny was by that time suffering with arthritis in both of his hands. This had no obvious impact on the quality or pace of his artistic work. In fact, of his lifetime oeuvre of over 3,000 works, over 2,200 were produced between 1807 and his death. He died on 30 September 1837. More

File:Sm Bombardment of Algiers, August 1816-Luny.jpg
Thomas Luny (1759–1837)
Bombardment of Algiers by Lord Exmouth in August 1816, c. 1820
Oil on canvas
122 × 183 cm (48 × 72 in)

The Bombardment of Algiers (27 August 1816) was an attempt by Britain to end the slavery practices of the Dey of Algiers. An Anglo-Dutch fleet under the command of Admiral Lord Exmouth bombarded ships and the harbour defences of Algiers.

There was a continuing campaign by various European navies and the American navy to suppress the piracy against Europeans by the North African Barbary states. The specific aim of this expedition, however, was to free Christian slaves and to stop the practice of enslaving Europeans. To this end, it was partially successful, as the Dey of Algiers freed around 3,000 slaves following the bombardment and signed a treaty against the slavery of Europeans. However, this slavery did not end completely until the European conquest of Africa. More

Martinus Schouman - Het bombardement van Algiers.jpg
Martinus Schouman (1770–1848)
The bombardment of Algiers, to support the ultimatum for the release of white slaves 26-27 August 1816, c. 1823
Oil on Cloth
95 × 159.5 cm (37.4 × 62.8 in)
Rijksmuseum, Amsterdam, Netherlands

Martinus Schouman (1770– 1848) was a 19th-century painter from the Northern Netherlands. Schouman was born in Dordrecht. According to the RKD he was the pupil and grandnephew of Aert Schouman and the brother of Aert II. His pupils were Pieter Arnout Dijxhoorn, Jan de Greef (1784-1834), Pieter Martinus Gregoor, Matthijs Quispel, Johannes Christiaan Schotel, and his son Izaak Schouman. He is known for marines and landscapes and was a member of the Dordrecht artist's society Pictura and the Royal society of the fine arts in Brussels. He died in Breda. More

File:The Dutch and English fleets meet on the way to Boulogne - Het treffen tussen de Hollandse en de Engelse vloot tijdens de tocht van de Hollandse flottille naar Boulogne, 1805 (Martinus Schouman, 1806).jpg
Martinus Schouman (1770–1848)
The Dutch and English fleets meet on the way to Boulogne, c. 1805
Rijksmuseum, Amsterdam, Netherlands

This painting documents the meeting of the British and Dutch fleets during the later stages of Napoleon's planning for his invasion of Britain. 

HAUGHTON FORREST (1826-1925) 
Wreck of Sir Robert Peel, Eliza and Pandora, Tynemouth 1854 
oil on board 
titled and dated verso 
30.5 x 46.5cm 

Extract from Captain Champion's letter to Messrs. Gilchrist and Alexander, the agents for the vessel :

"With feelings of deep regret I have to inform you the ship Sir Robert Peel is on shore, and likely to become a total wreck, at a place called Avoca Bay, as I am informed by a shepherd distant from Sydney Heals about fifty miles north. We have had the weather exceedingly stormy and thick fogs, and when the ship struck by our reckoning we were fifty miles from land and in the latitude of Sydney, so that in two days we have had a current setting to the north upwards of sixty mile's."

The Rose did not arrive from Morpeth, until one p.m. on Thursday. The Tamar having conveyed the intelligence of the Sir Robert Peel being on shore, Captain Pattison put into Broken Bay, and despatched the chief officer to the Customs Station, when Mr. Williams and his boats' crew accompanied them overland to the wreck, a distance of about eight miles. Nothing more had occurred than what had already been reported. and having found that the Thistle had been there they returned, finding that no assistance was required. More

Haughton Forrest (30 December 1826 – 20 January 1925) was an Australian artist. He was born in Boulogne-sur-Mer, France and subsequently lived in Berkshire, Jamaica and Germany, before obtaining a commission in the Honourable Artillery Company and later the 31st Royal Monmouth Light Infantry. He married in 1858 and moved to Brazil in 1875 before migrating to Tasmania. He held a number of municipal appointments in Sorell, including Superintendent of Police, before moving to Wellington Hamlets, near Hobart in 1881, devoting himself fully to art.


Forrest painted both marine scenes and landscapes. In 1899, his pictures of Mount Wellington and Hobart were included in the first set of pictorial stamps produced in Australia. More

A.V. GREGORY (1867-1957) 
The Monah, Crossing the Bass Strait 1908 
gouache and watercolour on paper 
signed and dated lower right: A.V. GREGORY '08 
30.5 x 53cm

The Bass Strait Triangle is the waters that separate the states of Victoria and Tasmania, including Bass Strait, in south-eastern Australia. The term Bass Strait Triangle (inspired by the Bermuda Triangle) appears to have been first used following the Valentich Disappearance in 1978 although the region had a bad reputation (never ascribed to supernatural forces, however) long before that.

Arthur Victor Gregory  (1867-1957), was an Australian visual artist who was born in 1867. Numerous works by the artist have been sold at auction, including 'Off Point Lonsdale Through the Rip (The Majanka)' sold at Leonard Joel, Melbourne 'European and Australian Art' in 2008. The artist died in 1957. More

A.V. GREGORY (1867-1957) 
The S.S. Laranah 1915 
gouache and watercolour on paper 
signed and dated lower left: A.V. GREGORY 15
30.5 x 53cm





LARANAH 701 gross tons. Lb: 54.9 x 8.6 metres. Steel, single screw cargo ship built as the Island Queen by De Merwede at Hardinxveld for Shipping Investments Co Ltd (C.H.Pile), London, aka British Channel Island Shipping Co. Date of completion: 18 March 1914. Triple expansion engine making 8.5 knots. 1914 Sold to W.Holyman & Sons. Served WW2. Sold 1956 to Panama interests. Fate: hit object & sank 10nm N Lubang Island, South-West of Manilla 8th October 1959 (another source states sank 18 October 1959) More

A.V. GREGORY (1867-1957) 
The Marrawah - Passing Point Lonsdale 1911 
gouache and watercolour on paper 
signed and dated lower left: A. V. GREGORY 11
29 x 52cm


MARRAWAH 600 gross tons. Lb: 179.2' x 29.1' x 11.2' (50.3 x 8.6 metres). Steel steamship, passenger-cargo as built by Van Vliet at Hardinxveld for Shipping Investments Ltd (C H Pile), London. Single screw, triple expansion engine, 87 nhp. 19?? purchased by Holyman & Sons, Launceston. Began a regular service to Naracoopa jetty, King Island 1916. Known definitely December 1920 as trading between Melbourne and Stanley on Tasmania's North-west coast, via King Island in Bass Strait. Sold to Howard Smith in 1936. Serviced Bundaberg - Brisbane transporting sugar. November 1941 requisitioned as a minesweeper in Bass Strait. February 1943 and passed to U S Navy control (small ships). Returned to owners at War's end and laid up. 1947 sold to Riverside Dock & Engineering Co., Sydney. Stripped at Sydney 1950 and made as an Australian miltiary target off Sydney Heads 10th May 1951. More



Images are copyright of their respective owners, assignees or others