05 Works, Marine Art, Walter Langley's perils of fishing life in a Cornish Village, with Footnotes, #87

Walter Langley, R.I. (1852-1922)

Waiting for the Boats, c. 1885

Pencil and watercolour

16 x 47 in. (42 x 119.5 cm.)

Private collection

Sold for GBP 109,300 in June 1999

The quayside by the seawall in the last few moments of leisure when they are able to share news, knit and read letters from relatives as they await the arrival of the herring fleet that has been away at sea and is returning with the day's catch. All is still and peaceful before these women's strenuous daily work begins and the women have to unload and clean the fish. The youngest of the women appears to be concerned about the arrival of the boats, perhaps nervous that not all of them will return; many men were killed in ocean storms. The anxious expression on her young face is in contrast to the weather-beaten skin of the older women who are used to sitting and waiting for the boats. More on this painting

Walter Langley (1852–1922)

In a Cornish Fishing Village – Departure of the Fleet for the North, c. 1886

Watercolour over graphite, with scratching out, on paper

121.9x926 mm

Birmingham Museums and Art Gallery

This painting is the first in a series of three works, depicting the perils of fishing life. In this work, the fleet is watched by villagers as it heads off to the fishing grounds. 

Walter Langley (1852–1922)

Disaster! Scene in a Cornish fishing village, c 1889

Watercolour over graphite, with scratching out, on paper

121.9x76.5 cms

Birmingham Museums and Art Gallery

Walter Langley devoted his life as a painter to scenes in the lives of fishing people in Cornwall. This work, from 1889, is slightly more dramatic than some in its depiction of off-stage events at sea impacting on people at home. Like many of his paintings this watercolour is now in the possession of the City Museum and Art Gallery in Birmingham, Langley's home town, More on this painting

Walter Langley (1852–1922)

Among the Missing – Scene in a Cornish Fishing Village, c. 1884

Watercolour over graphite, with scratching out, on paper

H 118 x W 85 cm

Penlee House Gallery & Museum

This watercolour is the third in a series of three works showing the perils of fishing life. On the wall of the post office is a list of all the men who have been lost at sea. This scene is still one that is all too frequent amidst fishing communities today. More on this painting

Walter Langley (1852–1922)

Sketch for 'Among the Missing – Scene in a Cornish Fishing Village'

Watercolour over graphite, with scratching out, on paper

H 20.2 x W 11 cm

Penlee House Gallery & Museum

Walter Langley, RI (1852–1922), often described as a pioneer of the Newlyn artists in Cornwall, was born in Birmingham in 1852. His father was a tailor, and the typically large Victorian family lived in poor circumstances. The boy attended a mission school there, taking evening classes at Birmingham School of Design from the age of ten, and becoming an apprentice to a commercial lithographer in Birmingham while still attending classes. His life might have gone on like that, only a few steps further up the social ladder than his father's. But, on his own initiative, Langley picked up watercolour painting, and showed three of his watercolours at the Royal Birmingham Society of Artists in 1873. A scholarship to the National Art Training Schools of South Kensington followed, to study decorative design, and, after another spell as a lithographer, Langley set out on his independent career as an artist.

Although he was very active in Birmingham, where he and others founded the Birmingham Art Circle, Langley was attracted by the trend established in France, to paint villagers among scenes of daily life in rural or coastal communities. In 1880, he and Henry Martin Pope (1843-1908), a fellow-founder member of the Art Circle, visited Newlyn in Cornwall, which was then beginning to have something of a reputation as an artist's colony. When Langley decided to move there with his young family in 1882, he became the first artist of any note to do so. He retained his ties with Birmingham, but eventually settled there permanently. His connection was confirmed when, after the death of his first wife, he married a Cornish woman in 1897. He died in Penzance in 1922, a well-known artist  — Jacqueline Banerjee

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01 Work, The Art of War, Tayseer Barakat's Shoreless Sea #40, with footnotes

Tayseer Barakat

Shoreless Sea #40, c. 2019

Acrylic on canvas

50 x 70 cm

Private collection

This is not an ordinary sea; this is a shoreless sea. Here swimming doesn’t end, and drowning is possible as well as separation from loved ones. Waves rise and clash fiercely, helicopters pass over boats, and refugees flee from bloody wars. Stolen intimate moments amid an atmosphere full of panic and hope is still possible.

In Shoreless Sea, Tayseer Barakat’s works manifest as an account on refugees’ desperate journeys to cross the Mediterranean to Europe in search for a normal life.  For Barakat, the Mediterranean was part of his life; he himself is a refugee who lived near the shores of Gaza as a child and by the shores of Alexandria as an undergraduate student. Yet, the Sea become colder since then. It also became merciless, and its appetite grew stronger. Suddenly, it hid its beaches, leaving people on board to wander in desperate search of ways to escape. More on this painting

Tayseer Barakat transcends beyond the materialistic world. He takes a journey to explore people and landscapes through a mystical lens, bringing an extraordinary dimension to his art. Barakat whose style reminds of prehistoric cave art uses acrylic on canvas to create artworks infused with the essence of life.

He touches upon metaphorical rituals, intimate moments, memories, and magical landscapes. His artworks show his perspective of the world as a spiritual place, and accordingly, they are shaped by deep mystical feelings stemming from a vision of an ideal place he imagines, rather than the actual harsh world of politics, traumas, and injustices that does exist. 

His characters look like divine beings appearing in sacred auras. Some are hidden around his canvases in tangled lines or around the intricate calligraphy he creates while others dominate the middle of the artworks practicing rituals, dancing, playing music, experiencing intimate moments, or even flying. His figures are ghostly and ethereal with certain fragile and delicate souls. Frames of images from memory occupy a few artworks backgrounds, yet in most of the works, dreamy landscapes dominate. He creates different textures on his canvases, using various techniques, which contribute to infusing the dream-like atmosphere around his characters.

Barakat, grew next to the sea in Gaza and has a deep connection with it. This can be seen clearly in some landscape works of the sea. More on Tayseer Barakat

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03 Classic Works of Art, Marine Paintings - Ports of Call, with Footnotes

Rubens Santoro, (Italian, 1859-1942)

Palazzo Donn Anna, Bay of Naples 

Oil on canvas

44.5 x 84.5cm (17 1/2 x 33 1/4in)

Private collection

Palazzo donn'anna, in the background, is a historical residence palace in naples, italy

Rubens Santoro (October 26, 1859 in Mongrassano, Province of Cosenza, Calabria – 1942 in Naples) was an Italian painter. He moved to Naples at 10 years of age, to study literature, but his inclination was painting. He only briefly enrolled at the Neapolitan Academy, instead, real life was his model. His first work was a small and simple genre piece: A Girl who Laughs, exhibited at the Promotrice. Domenico Morelli took note and encouraged him.

 

Santoro continually changed his vistas, painting in Torre Annunziata, Castellammare di Stabia, Procida, the Amalfi Coast, and Resina. During the long trips to the open countryside, he distracted himself by playing the mandolin. Many of his Amalfi landscapes were bought by the Goupil Gallery. Two were displayed at the 1877 Exposition at Naples: Marina di Maiuri and Grotta degli Zingari.  He moved to Paris, and after an excursion in England, returned to Naples even more prolifict. His painting Verona, exhibited at 1911 exhibition of Barcelona was awarded a Silver medal. More on Rubens Santoro

Nicolaes Pieterszoon Berchem, (1621/1622–1683)

A Southern Harbour, c. 1657 and 1659
A depiction of the sheep port of the Orangian protectorate

Oil on canvas

Height: 83 cm (32.7 in). Width: 104 cm (40.9 in).

Wallace Collection, London

Typical of Berchem’s decorative and exotic harbour scenes, the harbour was imaginatively identified with the port of Genoa by Jean Aliamet, who engraved the picture in the eighteenth century. The picture’s distinguished provenance demonstrates the artist’s appeal to collectors in the eighteenth and nineteenth centuries; its owners included the duc de Berry and Anatole Demidoff, Prince of San Donato. The 4th Marquess of Hertford paid the considerable price of 42,000 francs (about £1,680) for the painting at the latter’s sale in 1868. More on this painting

Nicolaes Pieterszoon Berchem (1 October 1620 – 18 February 1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces.

He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures in works of other artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema and Willem Schellinks. More Nicolaes Pieterszoon Berchem

Old Master Dutch Painting 17th Century Baroque

Untitled, (Fishing Village) mid 17th century

Oil on canvas
28" x 39" 
Private collection

Dutch Golden Age painting is the painting of the Dutch Golden Age, a period in Dutch history roughly spanning the 17th century, during and after the later part of the Eighty Years' War (1568–1648) for Dutch independence.

The new Dutch Republic was the most prosperous nation in Europe and led European trade, science, and art. The northern Netherlandish provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself almost entirely, a task in which it was very largely successful. The painting of religious subjects declined very sharply, but a large new market for all kinds of secular subjects grew up. More on Dutch Golden Age

Old Master Dutch Painting 17th Century Baroque

Setail; Untitled, (Fishing Village) mid 17th century

Oil on canvas
28" x 39" 
Private collection

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

Henry Bacon

La Bretagne

Oil on board

10 1/2 x 13 3/4in (26.8 x 35cm)

Private Collection

SS La Bretagne was an ocean liner that sailed for the Compagnie Générale Transatlantique (CGT) from her launch in 1886 to 1912, sailing primarily in transatlantic service on the North Atlantic. Sold to Compagnie de Navigation Sud-Atlantique in 1912, she sailed for that company under her original name and, later, as SS Alesia on France–South America routes. The liner was sold for scrapping in the Netherlands in December 1923, but was lost while being towed. More on La Bretagne

Henry Bacon (1839 in Haverhill, Massachusetts – 13 March 1912 in Cairo) was an American painter and author. Hewas born in Haverhill, Massachusetts in 1839. During the American Civil War, he and acted as a field artist for Frank Leslie's Weekly while he served as a soldier within the 13th Massachusetts Infantry. Badly wounded at Bull Run, he was discharged on 19 December 1862.

After the war, he studied art with Walter Gay, who suggested that he travel to Paris to undertake a formal art education. In 1864, he went to Paris. He was admitted to the National School of Fine Arts and was one of Alexandre Cabanel's scholars. 

He exhibited at the salon from 1868 through to 1896 with genre works which had found favour with the American market. He also worked as a journalist sending reports of events in Paris to the Boston Daily Evening Transcript. In 1897, he travelled to Egypt for the first time and began regularly spending Winters there. At that time, he switched from oils to watercolours which he believed was the optimal medium to capture the transparent light of the Middle East.

Bacon died of a heart attack in Cairo, Egypt in 1912. More on Henry Bacon

Adolf Heinrich Wriggers

Port Of Hamburg

Oil on board

15-1/2 x 22 in. (39.3 x 55.8 cm.)

Private Collection

The Port of Hamburg is a sea port on the river Elbe in Hamburg, Germany, 110 kilometres from its mouth on the North Sea. The port is almost as old as the history of Hamburg itself. Founded on 7 May 1189 by Frederick I for its strategic location, it has been Central Europe's main port for centuries and enabled Hamburg to develop early into a leading city of trade with a rich and proud bourgeoisie. More on Hamburg Harbor

Adolf Henry Wriggers (born April 27, 1896 in Hamburg , † November 30, 1984 ibid) was a German painter and graphic artist , who worked mainly in the style of impressionism.

n 1913 he received a scholarship for the School of Applied Arts Hamburg. Because of a hearing damage, he was used in wartime service as a coachman in East Prussia from 1915 to 1918 and then continued his education at the now so renamed Landeskunstschule with Carl Schroeder. From 1919 he lived freelance in Hamburg.

During the period of National Socialism , he was repeatedly imprisoned and temporarily taken into protective custody. Wriggers supported the resistance activities of the White Rose Hamburg . In 1949 he founded the Kleiner Hamburger Künstlerring with a number of other artists.

In 1956, he lost an eye during an operation, increasingly blinded until he was completely blinded in 1968. During this time, the forms and motifs of his works were increasingly coarsened. Already in the 1920s and then again from 1950 he had dealt with woodcuts and etchings, but mainly painted in impressionist style, even in small-format works. His subject was often the Port of Hamburg, which earned him the epithet “port painter”, also industrial landscapes and landscape painting in oil and watercolor.

Adolf Wiggers died in November 1984 in his hometown Hamburg. More on Adolf Henry Wriggers

Wilson Irvine

Low Tide

Oil on canvas

24 x 27in

Private Collection

Wilson Henry Irvine (28 February 1869 – 1936) was a master American Impressionist landscape painter. Irvine spent his early career near Chicago, a product of the School of the Art Institute of Chicago. Irvine also painted across Western Europe — where he produced outstanding American Impressionist versions of the local countryside.

Irvine is best known for his mastery of light and texture. Sometimes Irvine's obsession with light led him to paint rather pedestrian subjects — landscapes depicting little more than some trees, or a road or fence. But a number of Irvine masterpieces depict well-composed scenes including houses, boats, bridges — even a handful of portraits, including at least one self-portrait and a nude.

In 1914 Irvine packed up and moved his family to Old Lyme, Connecticut, becoming part of the famed Florence Griswold circle, now recognized as the "American Barbizon," hub of American Impressionism. It is as an Old Lyme painter that Irvine is best remembered today. More on Wilson Henry Irvine

Charles Haigh Wood

Mending the sail

Oil on canvas

12 x 18in (30.4 x 45.7cm)

Private Collection

Charles Haigh-Wood,  (British, 1856-1927) was a genre painter, who lived in London, Bury and Taplow, Buckinghamshire.

Haigh-Wood’s enchanting visions of romance, with attractive girls and pretty dresses are some of the most endearing and popular of all images. His patrons adored them, a successful businessman of Haigh-Wood’s day with any pretension to artistic taste had to own one.

He exhibited from 1874 to 1904, at the Royal Academy from 1879 to 1904, Suffolk Street, New Watercolour Society and elsewhere.

Titles at the Royal Academy include “The Harvest Moon” 1879, “Chatterboxes” 1889 and “The Old Love and the New” 1901. More on Charles Haigh-Wood

Joaquin Sorolla y Bastida (Spanish, 1863-1923) 

Net menders in Valencia, c. 1909 

Oil on canvas laid down on board 

15 x 22½ in. (38.1 x 57.1 cm.) 

Private Collection

Joaquín Sorolla y Bastida (27 February 1863 – 10 August 1923) was a Spanish painter. Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land. More on Joaquín Sorolla y Bastida

Ernest Slingeneyer (1820-1894),  Belgian

Fighting on the Sea, C. 1857

Oil on canvas

293 x 370 cm

Private Collection

The painting depicts a true incident from the war of the first French republic, as the artist remarks in the catalog of the exhibition in The Hague 1857. The French ship ‘Le Feu’ sank during a campaign in the North Sea, only five sailors managed to enter a raft. After two days they were spotted by a British ship which sent a sloop to them. But the French sailors defended themselves until death to avoid captivity. The subject of the painting with shipwrecked men, crowded together on a raft goes back to the famous painting ‘The Raft of the Medusa’ by Théodore Géricault (1819). But while Gericault chose to show a blameful, scandalous incident within the French navy, Slingeneyer decided to depict a heroic story with great pathos. More on this painting

Ernest Slingeneyer (1820-1894). His artistic training was at the academy of Antwerp by Gustave Wappers. From the beginning he prefered to paint historic themes. With only 19 years he exhibited his first painting. The colossal painting ‘Le Vengeur’, exhibited in 1845 at the ‘Salon of Brussels’, was admired by the Belgian king. He was showered with honours and received numerous orders. In 1878 he was in charge of executing 13 painting for the great hall of the ‘Academiënpalais’ in Brussels and was paid with a record payment of 122.000 Belgian Franc. His great success and influence led to a late political career in the Belgian Parliament. More on Ernest Slingeneyer

Arthur David McCormick

The Return of the Pirates, c. 1925

Oil on canvas

28 1/4 x 36 1/4in.

Private Collection

Arthur David McCormick FRGS (Coleraine 14 October 1860 – 1943) was a notable British illustrator and painter of landscapes, historical scenes, naval subjects, and genre scenes.

McCormick was born in Ulster and, after education at local schools, went to London. McCormick was educated at the Royal College of Art in 1883–1886. He worked for The English Illustrated Magazine. He was in 1892–1893 an artist on Sir Martin Conway's expedition to the Karakoram subrange of the Himalayas and in 1895 an artist on Clinton T. Dent's expedition to the Caucasus Mountains. His first exhibition at the Royal Academy of Art was in 1889, and through the end of 1904 he exhibited there eleven paintings. In 1927 he painted the Head of a Sailor for John Player & Sons for the promotion of Player's Navy Cut cigarettes. More on Arthur David McCormick

Leo Putz, 1869 - 1940, GERMAN

WALDESRUHE (FOREST CALM)

Oil on canvas

69 by 76.5 cm., 27 by 30in.

Private Collection

Painted in Gauting circa 1925 after the artist's return from exile in the Netherlands during the First World War, this painting exemplifies Putz's freely painted compositions of nudes and bathers by the water's edge. The setting for this and so many of Putz's paintings was the lake country around Schloss Hartmannsberg, where the artist and his family summered annually before the War, and again in the 1920s. More on this painting

Leo Putz (18 June 1869, in Merano – 21 July 1940, in Merano) was a Tyrolean painter. His work encompasses Art Nouveau, Impressionism and the beginnings of Expressionism. Figures, nudes and landscapes are his predominant subjects.

He began his studies at the age of sixteen at the Academy of Fine Arts Munich. His father then sent him to the Académie Julian in Paris. After military service, he returned to Munich and studied with Paul Hoecker. He opened his first studio in 1897. That same year, he became a member of the Munich Secession. He worked with the weekly magazine Jugend and many of his paintings were reproduced on the magazine's title page. During this time, he also worked as a commercial artist, creating many posters in Art Nouveau style and billboards for the Moderne Galerie München.

He became an honorary citizen of Bavaria in 1909; a prerequisite for becoming a Professor, which appointment he received that same year. Between 1909 and 1914, he spent his summers at Schloss Hartmannsberg near Chiemgau to practice plein-air painting. It was there that he created his best-known works; the two series known as the "Boat Pictures" and the "Bathers". 

He accepted an invitation to move to Brazil in 1929. At the request of Lúcio Costa, he took a professorship at the Escola Nacional de Belas Artes in 1931. During his stay, his colors took on a more tropical flavor and the exotic plant life became a favorite subject.  He returned to Germany in 1933.

He became an opponent of National Socialism and his art was labelled "degenerate". Beginning in 1936, he was repeatedly interrogated by the Gestapo and was forced to flee back to his native region, the South Tyrol. In 1937, he was officially banned from working in Germany. For the remainder of his life, he concentrated on painting castles, villages and benign landscapes.

He died in 1940. More on Leo Putz 

Henri Montassier, 1880 - 1946, FRENCH

REPOS AU BORD DU LAC, c. 1912

Oil on canvas

122 by 204cm., 48 by 80¼in.

Private Collection

Henri Montassier, born on June 27 , 1880 in Courlon-sur-Yonne and died on June 7 , 1946 in Paris, was a French painter , caricaturist and illustrator of  the 20th century.

His father sent him to study law in Paris, but he decided to join the studio of Luc-Olivier Merson , head of the studio at the École nationale supérieure des beaux-arts. He lived in Montmartre then other districts of Paris .

On February 1918, he married Céline Rambach.

In 1934, he moved with his wife to the Gers . He did not return to Paris until the end of the Second World War and died there of his lung disease in 1946. More on Henri Montassier

Michael Zeno Diemer, 1867 - 1939, GERMAN

TALL SHIP OFF CRETE

Oil on canvas

90.5 by 120.5cm., 35½ by 47½in.

Private Collection

Michael Zeno Diemer (* 8. February 1867 in Munich ; † 28. February 1939 in Oberammergau ) was a German painter. He studied from 1884 in Munich with Gabriel Hackl and Sándor Liezen-Mayer . Diemer was known for his impressive battles scenes. An arisen in 1896 Panorama he described the battle for Bazeilles during the Battle of Sedan in the Franco-German War . It was shown in a specially constructed building in Mannheim. For the German Museum in Munich, he made several paintings, including a representation of a Roman aqueduct for the department "Hydraulic Engineering", an ideal image of a medieval herb garden and the landing of the Zeppelin in Munich 1909 . In Stuttgart he painted the Brauereigaststätte Ketterer with a cycle of 14 large-scale paintings on the history of Swabian Emigrants. Diemer also submitted numerous landscapes and marine pictures, watercolors (also including representations of airships), poster designs and postcard views.

He was also a musician and composer. More Michael Zeno Diemer

Johannes Hermanus Koekkoek, 1778 - 1851, DUTCH

A MERCHANTMAN OFF VEERE

Oil on canvas

164.5 by 84cm., 64½ by 33in.

Private Collection

Veere is a municipality in the southwestern Netherlands, in the region of Walcheren in the province of Zeeland.

The name Veere means "ferry": Wolfert Van Borssele established a ferry and ferry house there in 1281. More on Veere

Johannes Hermanus Koekkoek, (Veere, 17 August 1778 – Amsterdam, 9 January 1851) was a Dutch painter and draughtsman. He was the head of an artistic family. His sons were all successful artists; the first two specialized in marine art, and Marinus was primarily a landscape painter. His grandson Johannes Hermanus Barend Koekkoek also became an artist.

ohannes Hermanus Koekkoek initially trained under Thomas Gaal, working in a wallpaper factory. He became primarily a marine art and genre art painter. He was active between 1793 and 1851, and worked in Middelburg, Durgerdam, Amsterdam (1833–1851), and Medemblik (1838) and Katwijk aan Zee. More Johannes Hermanus Koekkoek

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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Thank you for visiting my blog and also for liking its posts and pages.

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17 Engravings - Marine Art, Pieter Bruegel the Elder's Sailing Vessels, with foot notes

Pieter Bruegel the Elder (Dutch: c. 1525 – 9 September 1569) was a Netherlandish Renaissance painter and printmaker from Brabant, known for his landscapes and peasant scenes. He was born in Breda, near the (now Dutch) town of Eindhoven. He was an apprentice of Pieter Coecke van Aelst, whose daughter Mayken he later married. He spent some time in France and Italy, and then went to Antwerp, where in 1551 he was accepted as a master in the painter's guild. He traveled to Italy soon after, and then returned to Antwerp before settling in Brussels permanently 10 years later.

After Pieter Bruegel the Elder, (Netherlandish, 1522–1562)

Armed Three-Master on the Open Sea Accompanied by a Galley from The Sailing Vessels, 1561–65

Engraving and etching; second state of three

13 1/4 x 10 1/4 in. (33.6 x 26 cm)

The Metropolitan Museum of Art

Armed Three-Master on the Open Sea, accompanied by a Galley; large ship with guns at full sail in centre, seen from left; a large imperial pennant flaps from its mast; smaller galley to the left. More on this work

Bruegel was born at a time of extensive change in Western Europe. Italy was at the end of their High Renaissance of arts and culture, when artists such as Michelangelo and Leonardo da Vinci painted their masterpieces. In 1517, about eight years before Bruegel's birth, Martin Luther created his Ninety-Five Theses and began the Protestant Reformation in neighboring Germany.

After Pieter Bruegel the Elder , (Netherlandish, 1522–1562)

Armed Three-master with Daedalus and Icarus in the Sky from The Sailing Vessels, 1561–65

Engraving; first state of three

8 3/4 x 11 5/16 in. (22.2 x 28.7 cm)

The Metropolitan Museum of Art

Daedalus was shut up in a tower to prevent his knowledge of his Labyrinth from spreading to the public. He could not leave Crete by sea, as the king, Minos controlled the land and sea routes. Daedalus set to work to fabricate wings for himself and his young son Icarus. When the work was done, the artist, waving his wings, found himself buoyed upward and hung suspended, poising himself on the beaten air. He next equipped his son, and taught him how to fly. Daedalus warned Icarus not to fly too high, because the heat of the sun would melt the wax, nor too low, because the sea foam would soak the feathers.

They had passed Samos, Delos and Lebynthos by the time the boy, forgetting himself, began to soar upward toward the sun. The blazing sun softened the wax which held the feathers together and they came off. Icarus quickly fell in the sea and drowned. His father cried, bitterly lamenting his own arts, and called the land near the place where Icarus fell into the ocean Icaria in memory of his child. Some time later, the goddess Athena visited Daedalus and gave him wings, telling him to fly like a god. More on this work

Reformation was accompanied by iconoclasm, and widespread destruction of art. In response the Catholic Church which viewed Protestantism and its iconoclasm as a threat to the church, at the Council of Trent, which concluded in 1563, determined that religious art should more focused on religious subject-matter, and less on on material things and decorative qualities.

After Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Man of war at anchor, to the right a town, c. 1565 

Engraving and etching

23 x 28.6 cm. (9.1 x 11.3 in.)

The Metropolitan Museum of Art

Armed Three-Master Anchored Near a City; large vessel not under sail dominates foreground; two small rowboats approach in front of it and several other small sailing vessels surround it; large town to the right and a large bird in flight in upper right. More on this Etching

Frans Huys after Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Armed Four Master Putting Out to Sea, c. 1561-2.

Engraving and etching; first state of two

9 3/8 x 12 1/16 inches

The National Gallery of Art

Armed Four-Master Putting Out to Sea; large ship flying Portuguese flags centred in foreground and sailing to the left, with small vessel following; large town behind and several birds in flight above. More on this Etching

Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Armed Four-Master Sailing Towards a Port from The Sailing Vessels, 1561–65

After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels)

Engraving; second state of four

13 5/16 x 10 1/4 in. (33.8 x 26 cm)

 Philadelphia Museum of Art

Armed Four-Master Sailing Towards a Port; large ship with many guns protruding from all sides and spears in the baskets at the top of the masts at full sail in centre; port town at right background and two other ships on horizon at left; birds in flight at right and billowing clouds in sky. c.1565. More on this Etching

After Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Galleon at anchor

Engraving and etching

225 mm x 323 mm

National Maritime Museum,

After Pieter Bruegel the Elder, (Netherlandish, 1522–1562)

A Dutch Hulk and a Boeier from The Sailing Vessels, 1565

Engraving; first state of two

13 1/4 x 10 1/4 in. (33.7 x 26.1 cm)

The Metropolitan Museum of Art

A Dutch Hulk and a 'Boeier'; large ship listing to the left in the wind on a choppy sea with a smaller vessel behind it to the right; a corpse floating in the water in right foreground corner; the large ship bears the arms of Amsterdam and Enkhuiszen on its stern and the flag of Hoorn flies from one of the masts More on this Etching

Pieter Bruegel the Elder (Netherlandish, 1522–1562)

A Fleet Of Galleys Escorted By A Caravel (circa 1561-2)

Engraving & Etching

11 3/8 in X 8 1/4 in (29 cm X 22.3 cm)

The Metropolitan Museum of Art

A Fleet of Galleys Escorted by a Caravel; two galleys in foreground with caravel between them, flying Spanish flags; numerous galleys behind them in right middle- and background. c.1565. More on this Etching

After Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Man of War between two Galleys with the Fall of Phaeton, 1565

Engraving & Etching

21.2 x 27.8 cm

Princeton University Art Museum

Man of War between Two Galleys with the Fall of Phaeton, which contains a contrast of naturalistic depiction of shipping vessels with a mythological scene. This unique combination was employed by Bruegel to create an image that would appeal to the growing segment of buyers who were interested in both contemporary exploration and ancient literature.

The fall of Phaethon. In Greek mythology, Phaethon, challenged by his playmates, sought assurance from his mother that his father was the sun god. She gave him the requested assurance and told him to turn to his father for confirmation. He asked his father for some proof that would demonstrate his relationship with the sun. When the god promised to grant him whatever he wanted, he insisted on being allowed to drive the sun chariot for a day.[6] Placed in charge of the chariot, he was unable to control the horses. The earth was in danger of being burnt up and, to prevent this disaster, Zeus killed him with a thunderbolt. More on The fall of Phaethon

Bruegel portrays the moment Phaeton tumbles from the chariot, at the immediate upper right of the top of the man of war’s mast. Bruegel portrays the moment Phaeton tumbles from the chariot, at the immediate upper right of the top of the man of war’s mast. The four horses storming away across the sky, Zeus wielding his thunderbolt, and the frowning face of Apollo in the sun. 

King Cycnus wept and lingered on a riverbank until he was turned into a melodic voiced swan. A human faced swan, is visible floating on the ocean in the central bottom of the print. More on this Etching

After Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Four-Master and Two Three-Masters Anchored near a Fortified Island with a Lighthouse, ca. 1561–62

Engraving and etching; first state of two

8 3/4 x 11 3/8 in. (22.2 x 28.9 cm)

The Metropolitan Museum of Art

Four-Master (left) and Two Three-Masters Anchored Near a Fortified Island; three large vessels in foreground with several small rowboats among them; behind them in centre middleground a fortified island with a lighthouse; calm waters but agitated clouds in sky.

After Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Three Caravels in a Rising Squall with Arion on a Dolphin from The Sailing Vessels, c. 1565

Engraving and etching; first state of two

8 11/16 x 11 1/4 in. (22 x 28.6 cm)

The Metropolitan Museum of Art

Probably commissioned by publisher Hieronymus Cock Pieter Brueghel drew about 1561-1562 a number of vessel types as examples of the engraver Frans Huys and a total of eleven different prints of Brueghel Huys to be known. This picture shows three armed sailing ships and in the foreground on the right shows a scene from the story of Arion and the Dolphin. 

Arion was a famous Greek poet and minstrel from the seventh century BC. During the voyage he was robbed by the crew of his belongings and threatened with death. He asked permission for the last time to play a song and dolphins came swimming up to listen to him. At the end of his playing Arion jumped into the sea and was brought by the dolphin safely to land. More on this Etching

After Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Ripa Grande in Rome, circa 1552-54

Pen on ink

Height: 207 mm (8.15 in). Width: 283 mm (11.14 in)

The Metropolitan Museum of Art

Porto di Ripa Grande was the river port of Rome, just downstream the former Pons Sublicius, where the wares, going up and down the Tiber towards the dock of Fiumicino, were handled.

After Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Battle of Messina Straights, circa 1561

Engraving

mm.425x715

British Museum

Naval Battle in the Strait of Messina; several ships in the foreground with the burning of the city of Reggio in Calabria at upper left, the eruption of Mount Etna at right behind the city of Messina

The Battle of the Strait of Messina was fought on 276 BC when a Carthaginian fleet attacked the Sicilian fleet of Pyrrhus of Epirus, who was crossing the strait to Italy. Pyrrhus had left Italy for Sicily on the Autumn of 278 BC and scored several major victories against the Carthaginian armies, but Roman successes against Pyrrhus' Italian allies convinced him to return to Italy.

While Pyrrhus was transporting his troops to Rhegium he was attacked by the Carthaginians who inflicted heavy casualties on his fleet. Pyrrhus' surviving ships, amounting to 40 warships plus the transport ships, docked at Locri where he had left his son Alexander when he opened his Sicilian campaign. More on The Battle of the Strait of Messina

After Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Battle of Messina Straights, circa 1561

Engraving

mm.425x715

Private collection

Printed from two plates, this work was etched and engraved by Frans Huys on the basis of drawings that Bruegel would have provided him with. One of these preparatory drawings has survived to the present day (Museum Boijmans Van Beuningen, Rotterdam, inv. no. 191), showing a view of the city of Reggio Calabria in reverse. An anonymous drawing in pen and black and brown ink, probably a copy after the original, acquired in 2011 by the Royal Library of Belgium, gives an idea of how the other, now lost studies by Bruegel of the Strait of Messina may have looked. It is generally accepted that Bruegel was in Italy from 1552 to 1554 and it is likely that he went to Messina, where he may have witnessed, or at least heard about, the encounter of the Italian and the French-Turkish fleets, resulting in the fire and destruction of the city of Reggio in July 1552.

In Frans Huys' print, the smoky clouds rising above 'Rezo' and the eruption of the Mount Etna provide the background and frame for the naval battle in the foreground, depicted with utmost detail, including the turbans of the Turkish crews. The various ships are rendered with the same great accuracy as Frans Huys' contemporary series of Sailing Vessels after Bruegel (see previous lot). Manfred Sellink argued that the print, being expensive to produce, may have been co-published by the Antwerp painter and nobleman Cornelis van Dalem and the famous publisher Hieronymus Cock, even though their names appear individually in the first and the second states, respectively. More on this Etching

After Pieter Bruegel the Elder (Netherlandish, 1522–1562)

Seascape with a View of Antwerp

Pen and ink

Height: 203 mm (7.99 in). Width: 298 mm (11.73 in).

Courtauld Institute of Art, London, UK

Various Ships at Sea, c. 1550, Frans Huys (attributed to), after Pieter Bruegel (I), 1540 - 1562

Sixteen Ships

Engraving and etching

h 223mm × w 302mm

Rijksprentenkabinet

View of Sixteen Ships; various types of ships seen from high vantage point; coastline with lighthouse at far right background. c.1565. More on this Etching

Pieter Bruegel the Elder (Netherlandish, 1522–1562)

A carrack before the wind

Painting

28 by× 35.5cm including border (11 by× 14in)

National Maritime Museum, Greenwich, London

A Portuguese carrack was a large galleon used in the 14th, 15th, and 16th centuries. Portuguese ships arrived in the Indian Ocean in 1498, looking for a sea route to the silks and spices of the East. The Portuguese took over many of the existing routes, and controlled the Indian Ocean trade through force of arms. For many years, English East Indiamen competed with the Portuguese for the lucrative eastern trade. More on this painting

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