Seascape – Zaidan Gallery

01 Marine Painting – Jack Lorimer Gray’s Nova Scotian Schooner, with Footnotes, #361

Jack Lorimer Gray, American/Canadian, 1927-1981
Nova Scotian Schooner, c. 1961
Oil on canvasboard
24 x 36 inches (61 x 91.4 cm)
Private collection

Of all the wooden vessels that have sailed in Nova Scotia waters, perhaps the best-known and best-loved is the schooner. Regardless of size or various sail configurations and rigs, the Nova Scotian Schooner and its graceful silhouette are instantly recognizable, imbedded in the popular imagination as quintessential symbols of maritime life and the salt-water trade.

The schooner’s reputation was built on serviceability — relatively small, speedy, agile and seaworthy, it was the workhorse of the sea. In the days before modern road networks and transportation systems, regional trade and commerce relied almost entirely on marine routes — and small vessels. Schooners were the backbone of the coastal trade — every seaside community had at least one or two carrying produce, fish and passengers to larger towns, bringing goods back. Schooners were also the mainstay of both the inshore and Grand Banks fisheries. More on the Nova Scotian Schooner

Jack Lorimer Gray (April 28, 1927 — September, 1981) was a Canadian artist, known particularly for marine art.

Jack Lorimer Gray was born in Halifax and studied at the Nova Scotia School of Art and Design (NSCAD). Though a traditional painter of marine pictures in a decade known for advances in abstraction in Canada, Gray’s paintings are avidly sought internationally. The appeal of his paintings has much to do with their authenticity and dynamism. Gray spent time at sea and was well-positioned to interpret in paint how vessels responded to the movement induced by wind and wave, unlike other marine painters who limited themselves to moored ships which they studied from dry land.

Gray lived in New York in the mid-50s and was represented by Kennedy Galleries which accounts for the significant patronage he enjoyed in the U.S. Gray moved to Maine in the late 1950s but was back in Halifax by 1961, More on Jack Lorimer Gray

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01 Marine Painting – Ernest Fiene ‘s Docked Boat, with Footnotes, #360

Ernest Fiene, American, 1894-1965
Docked Boat
Oil on canvas
30 x 40 inches
Private collection

Ernest Fiene (November 2, 1894–August 10, 1965) was a 20th-century American graphic artist known primarily for his varied printed works, including lithographs and etchings. Fiene was born in Germany . He fled Germany in 1912 to avoid military service in what would become World War I. Traveling first to the Netherlands, he continued on to the United States.

From 1914 he studied at the National Academy of Design in New York City, and from 1916 to 1918 at the Beaux Arts Institute. In 1923, Fiene continued his study of printmaking at the Art Students League of New York. In 1921 he married Jeannette Etarre. He had his first solo show at the Whitney Studio Club.

From 1928 to 1929 Fiene studied in Paris and traveled in France. In 1932, he was awarded a Guggenheim Fellowship which allowed him to study mural painting in Italy.

Fiene re-established his relationship with the Art Students League in 1948, returning to teach classes in painting and drawing there. In 1948, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1952. In the 1950s he also served on the faculty of the Famous Artists School in Westport, Connecticut.

Fiene died of a heart attack in Paris in 1965. More on Ernest Fiene

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01 Marine Painting – Ezelino Briante’s Without title, with Footnotes, #359

Ezelino Briante, (1901, Napoli – 1971, Roma)
Without title
Oil on canvas
40×70 cm
Private collection

Ezelino Briante ( Naples , 1901 – Rome , 1971 ) was an Italian painter. He was born in Naples in 1901; son of musician artists; after some irregular studies he enrolled in the Academy of Fine Arts in Naples , but after some exams, he abandoned it. He traveled to Italy and abroad (France, Switzerland, Sweden, Brazil and the United States of America) to be in contact with nature, which he loved since childhood.

His brush stroke is full-bodied, his style is whimsical, sometimes material. Hiss Italian ports are characteristic, above all Campania, and its marinas are famous, depicting Sorrento, Capri, Maiori, the Amalfi and Sorrento coast; curious are its mountain landscapes, woods, country houses; the glimpses of cities – Naples and Venice – are rare and the mountain villages even rarer. Ezelino Briante usually painted in oil on wood, on masonite, on cardboard and on canvas, he rarely used the watercolor technique. More on Ezelino Briante

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01 Marine Painting, Abel Bertram’s Return of the fishermen, with footnotes, #358

Abel Bertram, (1871 – 1954)
Return of the fishermen, c. 1938
Oil on canvas
65 x 81 cm
Private collection

Abel Bertram, born in Saint-Omer ( Pas-de-Calais ) on September 9 , 1871, and died in Paris on August 3 , 1954, is a French painter .

Bertram learned the basics of his art in his hometown before settling in Lille where he became a student for three years at the school of fine arts. He was then admitted to the École des Beaux-Arts in Paris.

In 1900, he settled in Ponthieu , where he opened his workshop in 1904; while retaining links with the capital. From 1923 to 1928 he lived in Paris.

He painted landscapes, nudes, and seascapes in Finistère. He settled permanently in Paris in 1927. He regularly returning to Saint-Omer to paint the landscapes of Picardy on the motif .

Member of the Salon d’Automne , he exhibited there regularly as well as at the Salon des Tuileries. In 1926 he participated in the retrospectives of the Indépendants with his paintings Le Livre , La petite Eva , Sortie de maison and Rue de village . At the Independants in 1927, he exhibited L’eau jaune and L’eau verte then in 1928 Baigneuse et Nu couché …

He also exhibited at the National Society of Fine Arts. More on Abel Bertram

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01 MARINE PAINTING, MIROSLAVA ZAHARIEVA’S LIGHTHOUSE – WITH FOOTNOTES, #357

Miroslava Zaharieva, Bulgaria
Lighthouse
Watercolor on Paper
19.7 W x 13.8 H x 0 in
Private collection

Miroslava Zaharieva is an academic and self-expression artist. She works in various styles: still life, landscape, portrait, figural and non-figural compositions using watercolours, oil, tempera and acrylic colours. Traditional techniques of painting and experimentation by mixing different techniques together. Collage works with various materials: paper, textile, leather and synthetics. Applied arts experience in hand drawing and stamping of textiles (silk, linen, cotton, synthetics).

Born on May 6th 1982 at Sofia, Bulgaria, Miroslava Graduated on M.A. course in Painting at the National Academy of Arts, Sofia, Bulgaria. She is a member of Union of Bulgarian Artists since 2012. She is also a member of AIAP / IAA – UNESCO. More on Miroslava Zaharieva

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01 Marine Painting – Charles Edward Dixon’s The lady, She’s a Liner, with Footnotes, #356

Charles Edward Dixon, (1872-1934)
The lady, She’s a Liner, c. 1920
Pencil, watercolour and bodycolour, heightened with white on paper
26 5/8 x 52 in. (67.8 x 132 cm.)
Private collection

Charles Edward Dixon (8 December 1872 – 12 September 1934) was a British maritime painter of the late nineteenth and early twentieth centuries, whose work was highly successful and regularly exhibited at the Royal Academy. Several of his paintings are held by the National Maritime Museum and he was a regular contributing artist to magazines and periodicals. He lived at Itchenor in Sussex and died in 1934. More on Charles Edward Dixon

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01 Marine Painting – Otto Kuster’s Sydney Summer, with Footnotes, #349

Otto Kuster (1941 – )
Sydney Summer
Oil on board
60 x 90cm
Private collection

Sydney is home to some of the most beautiful beaches in the world. A quick Google search tells us that Sydney has over a hundred beaches scattered across the city, and that’s just the recorded number. There are heaps of hidden beaches that manage to stay under the radar. Unsurprisingly, if you were to visit a new beach in Sydney every day, it would take you nearly four months to visit them all. More on Sydney beaches

Otto Kuster was born in Karlsbad, Bohemia (1941) and commenced studying art at the age of 14 years at the Kempten Studio of Josef Mayer of the Munich Academy. He also studied under Joseph Konrad, the noted Bavarian sculptor, whilst attending the Kempten Technical College, obtaining his Arts Diploma in 1958.

A vision of Australia was born in Otto’s boyhood and in 1960 the call of adventure brought him to our shores. His travels seen him working as a farm labourer, cane cutter, lightning ridge opal miner amongst other menial jobs before settling in Sydney and pursuing his life long passion.

This diverse and interesting time spent away from the cities created an enormous love of the bush and its people. It also created incredible inspiration for Otto, his passion for depicting the scenes he has lived in, into works of art, is stronger than ever. It has given him the ability to capture the atmosphere, the mood, the colour and the everyday life that is Australia. Otto loves the movement of water.

the oceans, the rivers with their boats and ships and this love shows in his paintings.

Otto is well known for his Sydney Harbour and Street Scenes. He is recognised, as one of Australia’s foremost impressionist with his palette knife style and dramatic light effects. Otto is a member of the Royal Art Society of NSW, has had numerous one-man and group exhibitions. His work is represented in public, corporate and private collections around the world. More on Otto Kuster

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01 Marine Painting, Maurice MacGonigal’s CURRACHS FISHING – With Footnotes, #348

Maurice MacGonigal, PPRHA HRA HRSA (1900-1979)
CURRACHS FISHING (OFF ACHILL), c. 1936
Oil on panel
h:11.50 w:15in
Private collection

A currach is a type of Irish boat with a wooden frame, over which animal skins or hides were once stretched, though now canvas is more usual. It is sometimes anglicised as “curragh”.

The currach has traditionally been both a sea boat and a vessel for inland waters. The River currach was especially well known for its shallow-draft and maneuverability. These currach were common on the rivers of South Wales, and were often referred to as Boyne currach. However, when Ireland declared the netting of salmon and other freshwater fish illegal in 1948, its once common appearance quickly dwindled. More on a currachMaurice MacGonigal was apprenticed to his uncle Joshua Clarke’s glass studio in his hometown of Dublin at the age of fifteen. Politically active in his youth, he joined the first Na Fianna Éireann in 1917, being interned first in Kilmainhal Gaol and then Ballykinlar Camp, Co. Down. When released from internment in 1921, MacGonigal returned to the Clarke studio before he won a scholarship to the Metropolitan School of Art where he studied painting under Sean Keating, Patrick Touhy and James Sinton Sleator. He subsequently taught at the school for over thirty years (later the National College of Art) and became professor of painting.

MacGonigal’s association with the RHA began in 1924, and he exhibited annually, being elected a full member of in 1933. He succeeded his former tutor Sean Keating as president of the academy in 1962, retaining the position until two years before his death. As well as exhibiting at the RHA he showed regularly at the Dawson and Taylor Galleries, and in 1991 a posthumous retrospective was held at the Hugh Lane Gallery in Dublin.

MacGonigal was known not only for his painting but also his set designs for the Abbey Theatre, book illustrations, posters for the Irish Army and a mural he produced in 1939 for the New York World’s Fair in 1939. His works can be found the collections of the National Gallery of Ireland, Hugh Lane, Crawford Gallery and Ulster Museum. More on Maurice MacGonigal

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01 Marine Painting – Henry Scott’s The clipper ship Light Brigade, with Footnotes, #347

Henry Scott, (British, 1911-2005)
The clipper ship ‘The Light Brigade’, c. 1966
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Private collection

Ocean Telegraph was an American clipper ship. Built in 1854 for the run between New York and San Francisco, she was later sold and renamed Light Brigade in 1863. For the next 12 years she was used predominantly to transport cargo and immigrants between London and Australia and New Zealand.

She was described as “a very sharp clipper and said to be one of the most perfect ships ever built”. In common with other clipper ships of the day she was constructed from wood and with three masts. Also in common with other clipper ships of the day her hull was painted black, and the bottom of the hull lined with copper.

From 1854 to her sale in 1863 she was involved in moving cargo and passengers between New York and San Francisco. In common with many other clippers at the time, she was sometimes unable to procure a return cargo and when this happened had to return to New York in ballast.

Each time Light Brigade had sailed to Australia and New Zealand she carried around 400 passengers, mail and a cargo of general merchandise.

In 1883 she was condemned and sold to Gibraltar where she was converted into a coal-hulk. More on Ocean Telegraph

Henry Scott F.R.S.A, 1911-2005, British, was a painter of marines and coastal subjects strongly associated with the Royal Society of Artists. As well as painting lucrative shipping portraits for some of his wealthy clientele, he also executed a number of works of British and American clippers. His works have often been confused with those of Montague Dawson. Scott worked in a similar way to that of Dawson and captured a wonderful freshness and feel of immediacy. Scott’s palette is striking, with all surfaces and elements observed, capturing every movement in full flow. His sails are nearly always bellowed with a good stiff breeze, which is further emphasised by the spray of the water being wisped across the top of the choppy seas. Particularly notable are his skies which move the subject helping the canvas feel alive. In 1970 Scott was commissioned to paint ‘Morning Cloud’ which was skippered and owned by the then Prime Minister, The Right Honourable Edward Heath, P.C., M.B.E., M.P.. Scott exhibited at the Society of Marine Artists; The Royal Exchange, London; The Guildhall, London and The Royal Academy. He also exhibited at the St. Malo Museum, France and at Madison Square in New York. He was honoured as a Fellow of the Royal Society of Arts and awarded an honorary Life Member ‘Cape Homers’ by the International Association of Master Mariners. More on Henry Scott

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01 Marine Painting – Charles William Bush’s The Pearl River – Canton China, With Footnotes, #346

Charles William Bush, (1919-1989)
The Pearl River – Canton China
Mixed Media on Paper
34x50cm
Private collection

The Pearl River is an extensive river system in southern China. The river is so named because of the pearl-colored shells that lie at the bottom of the river in the section that flows through the city of Guangzhou. More on The Pearl River

Born in Melbourne, Charles William Bush studied under Mcinnes (q. v.) and Wheeler at the National Gallery of Victoria School, and later taught there from 1954 to 1955. After his appointment as a war artist in 1943, he studied, travelled and exhibited overseas. In partnership with his longtime companion Phyl Waterhouse, and June Davies, he established the Leveson Street Gallery, Melbourne, in 1962. Bush was equally adept with pen and brush, and won many awards for his skilful, professional paintings which included landscapes, seascapes, genre and portraits. (He was also widely known throughout Australia for his long-running weekly television programme My Fair Lady.) More on Charles William Bush

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15 Classic Works of Marine and Seascape Paintings, with footnotes

Arthur Joseph Meadows
Fishing vessels in rough weather, c. 1874
Oil on canvas
46 x 81cm
Private collection

Arthur J. Meadows (1843–1907) was born within a family of painters. His father James Meadows, Sr. instilled in him a technical appreciation for accurate coastal views of Europe, and young Arthur set out to see and paint as many as he could find.

Traveling extensively throughout England, Holland and France, Meadows also took to the Mediterranean Ocean and the various sights and locales of Italy, Greece and the islands. He excelled in capturing local color and detail all within a soft, subtle palette that offers peaceful realism and emotional content to his artworks.

Meadows was very successful financially with his art in his lifetime and gifted works to many private individuals and other artists that he befriended. His upper society lifestyle enabled him to be quite active in early humanitarian efforts, and he was involved in the British and Foreign Anti-Slavery Society in the mid-Victorian Age. More on Arthur J. Meadows…

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01 Marine Painting – Frederick James ‘Fred’ Elliott’s Shipping, Sydney Harbour with City Skyline, with Footnotes, #345

Frederick James ‘Fred’ Elliott, (1864-1949)
Shipping, Sydney Harbour with City Skyline
Watercolor
44x28cm
Private collection

Frederick James ‘Fred’ Elliott, 1864-1949, was a prolific watercolour painter and lithographer, active in Sydney from the 1890s to the 1920s, specialising in marine subjects.

Frederick James ‘Fred’ Elliott was born in Paignton near Brixham, Devon, UK, son of Alfred Elliott. Fred Elliott immigrated to Queensland in 1876 when his father was appointed teacher at Humpybong School near Redcliffe, Queensland. Elliott worked as a lithographic artist in the Queensland Government Printing Office from July 1896 to about 1903. He was a prolific artist, painting almost invariably in watercolours, occasionally in oils. He specialised in marine watercolour studies, travelling up and down the coast by ship and sketching scenes that he later turned into paintings. Mainly painting Sydney Harbour, including views and individual ships. His watercolours are characterised by a high key and strong atmospheric effects. He showed his paintings infrequently in the Queensland National Association’s exhibitions and with the Queensland Art Society and the NSW Society of Artists. He signed his paintings. More on Frederick James Elliott

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17 Engravings – Marine Art, Pieter Bruegel the Elder’s Sailing Vessels, with foot notes

After Pieter Bruegel the Elder, (Netherlandish, 1522–1562)
Armed Three-Master on the Open Sea Accompanied by a Galley from The Sailing Vessels, 1561–1565
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…

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01 Marine Painting – John Charles Allcot’s American Clipper Ship ‘Wavertree’, with Footnotes, #344

John Charles Allcot, (1888-1973)
American Clipper Ship ‘Wavertree’ Leaving Sydney Harbour with Pilot Boat.
c. 1971
Oil on Canvas Board
58.5×73.5cm
Private collection

Wavertree is a historic iron-hulled sailing ship built in 1885. Now the largest wrought iron sailing vessel afloat, it is located at the South Street Seaport in New York City.Wavertree was built in Southampton, England in 1885 and was one of the last large sailing ships built of wrought iron. She was built for the Liverpool company R.W. Leyland & Company, and is named after the Wavertree district of that city.

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

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

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

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

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

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

Newell Convers Wyeth (1882-1945)
“Oh, Morgan’s men are out for you; and Blackbeard–buccaneer!…”, c. 1917
Oil on canvas
50 ¼ x 35 in. (127.6 x 88.9 cm.)
Private collection

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

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

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

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

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

Jean Dufy, (1888-1964)
Port de Copenhague/ Port of Copenhagen, circa 1953-1954
Oil on canvas
18 ¼ x 21 ¾ in. (46.3 x 55.3 cm.)
Private collection

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

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

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

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

Montague Dawson, F.R.S.A., R.S.M.A. (British, 1890-1973)
The Q-Ship ‘Mary B. Mitchell’ Sinking a German U-Boat in January 1917
Oil on canvas
28 x 42 in. (71.1 x 106.7 cm.)
Private collection

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

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

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

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

Montague Dawson RMSA, FRSA (1890–1973) was a British painter who was renowned as a maritime artist. His most famous paintings depict sailing ships, usually clippers or warships of the 18th and 19th centuries. Montague was the son of a keen yachtsman and the grandson of the marine painter Henry Dawson (1811–1878), born in Chiswick, London. Much of his childhood was spent on Southampton Water where he was able to indulge his interest in the study of ships. For a brief period around 1910 Dawson worked for a commercial art studio in Bedford Row, London, but with the outbreak of the First World War he joined the Royal Navy. Whilst serving with the Navy in Falmouth he met Charles Napier Hemy (1841–1917), who considerably influenced his work. In 1924 Dawson was the official artist for an Expedition to the South Seas by the steam yacht St.George. During the expedition he provided illustrated reports to the Graphic magazine.

After the War, Dawson established himself as a professional marine artist, concentrating on historical subjects and portraits of deep-water sailing ships. During the Second World War, he was employed as a war artist. Dawson exhibited regularly at the Royal Society of Marine Artists, of which he became a member, from 1946 to 1964, and occasionally at the Royal Academy between 1917 and 1936. By the 1930s he was considered one of the greatest living marine artists, whose patrons included two American Presidents, Dwight D Eisenhower and Lyndon B Johnson, as well as the British Royal Family. Also in the 1930s, he moved to Milford-Upon-Sea in Hampshire, living there for many years. Dawson is noted for the strict accuracy in the nautical detail of his paintings which often sell for six figures.

The work of Montague Dawson is represented in the National Maritime Museum, Greenwich and the Royal Naval Museum, Portsmouth. More on Montague Dawson

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01 Classic Works of Art, Marine Paintings, János Miklós Vaszary’s BEACH IN ITALY – With Footnotes, #220

János Miklós Vaszary, Hungarian, 1867-1939
BEACH IN ITALY
Oil on canvas
52 by 77cm., 20½ by 30½in.
Private collection

János Miklós Vaszary (30 November 1867 – 19 April 1939) was a Hungarian painter and graphic artist.His art studies began at the Hungarian University of Fine Arts. In 1887, he went to Munich. After seeing an exhibition of paintings by Jules Bastien-Lepage, he moved to Paris in 1899 and enrolled at the Académie Julian. Although he later became involved with Simon Hollósy and the artists’ colony in Nagybánya and developed an interest in Hungarian folk art, his primary influences would always be French.

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

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

Edmond Marie Petitjean (1844-1925)
Navires au Port d’Anvers/ Ships at the Port of Antwerp, c. 1883
Oil on canvas
15 x 23 1/2in (38.2 x 59.8cm)
Private collection

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

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

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

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

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

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

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

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01 work, PORTRAIT OF A LADY, John Singer Sargent’s Nancy Witcher Langhorne, Viscountess Astor, with Footnotes. #140

Eugène Isabey (1803–1886)
After a Storm, c. 1869
Oil on canvas
height: 37 cm (14.5 in); width: 60 cm (23.6 in)
Hermitage Museum

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

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

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

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

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

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

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