A superior and graceful schooner as grand as any ever built, AMBASSADRESS was William Backhouse Astor, Jr’s “floating home” from its launch in 1877 until he sold it in 1884 and purchased his massive steam/sail yacht NOURMAHAL. Designed and built by the renowned David Carll, AMBASSADRESS wasn’t intended as a 146'2" racing schooner (the largest centerboard yacht ever built), but as an opulent home on the water, with exotic woods, carpeting, panel mirrors and every amenity Astor could desire. Still she handled remarkably well and sailing in all weather at speed, by all accounts.

Buttersworth’s art presents a selection of New York Yacht Club vessels tacking into a headwind on the port quarter. Two large schooners and a cutter sail along with AMBASSADRESS flying American Ensigns, with the rolling Atlantic Ocean contesting each of them. Quite likely this is AMBASSADRESS first yacht club’s cruise of 1877 to Newport, and Astor has commissioned the artist to capture it for posterity, with the club pennant and his private signal aloft. When not onboard, Astor’s yacht would often be found docked off his Hudson River Estate, Ferncliff. The 500-acre “farm” had cattle and his horse stables as well, with his prize thorough-bred Vagrant winning the 1876 Kentucky Derby.

Buttersworth frequently accepted commissions from many of the era’s most important yachtsmen, who wished to preserve their seasonal victories and beautiful ships. The sharp details and gracefully drawn lines of the schooner yacht are well represented, as the regatta follows her under a clouded yet bright sky. The textured application of oil brings forth a realistic first-person view of a classic schooner from the water. Astor would sell his prized yacht to Nathaniel Thayer of Boston in 1884.

This excellent painting is a fitting artistic tribute to the penultimate naval battle of the American Civil War by Julian O. Davidson, as well a rare depiction of deck action in a 19TH Century naval scene. KEARSARGE’s Union Navy crew is obscured behind the smoke of their cannons, and the Confederates have begun to flee their vessel as damage begins to take its toll on the most successful of the Confederate Raiders, a fast screw sloop-of-war, ALABAMA.

The historic June 19, 1864 duel between two American ships off the coast of France resulted in the sinking of the ALABAMA. Blockaded in the port of Cherbourg while making needed repairs, Captain Ralph Semmes notified Captain John A. Winslow, in command of the Union Sloop KEARSARGE, that he would come out to battle.

Semmes intended to allow his crew, just slightly outnumbered and outgunned, to fire first at a range of 1500', and then steam close and try to board with the enemy. KEARSARGE held to 1000' and instead of closing with the Confederate, circled closer to throw devastating broadside attacks. ALABAMA, hampered with old, deteriorating powder from her two-year world cruise against the North’s shipping interests, knew her fate would soon be found at the bottom of the Atlantic. After one hour and ten minutes, and 173 shots fired from KEARSARGE, ALABAMA was lost with 127 men out of 149 rescued. Davidson worked a variation of this epic battle on more than one canvas, and it proved to be a popular print subject as well for him.

A dramatic moment in the face of a high seas storm, two sailing ships of the British Navy face a difficult voyage in the aftermath of the Battle of Trafalgar. As if the profession wasn’t perilous enough, 33 ships - from the 100-gun VICTORY, BRITANNIA and ROYAL SOVEREIGN to the eight-gun ENTREPRENANTE faced Napoleon’s Naval forces off Cadiz on Oct. 21, 1805 after months of maneuvers and chases throughout the Atlantic. The detail driven paintings of Thomas Buttersworth are full of accurate history while ringing forth with his superior artistic effort. The sky and driven sea carry the action of this work, much like the paintings of his famous grandson, James E. Buttersworth.

After the decisive naval battle, tragically the scene of English hero Admiral Horacio Nelson’s death at the receiving end of a French musket ball, the British warships and their 17 French and Spanish prizes faced a seven-day storm. Two vessels are shown, most likely 74-gun warships such as BELLEROPHON, REVENGE or ACHILLE (16 such Third-Rates were in the fleet, the most numerous type present) with the configuration of gun-ports. With her men on deck and at the rail, the Man-O’-War has broken her jib boom and shredded her spanker sail on the gaff boom. None of the British ships were lost to the battle or storm, but several prizes were either wrecked or scuttled.

Thomas Buttersworth portrayed many naval events from the Napoleonic Wars. His ability to accurately portray ships engaged in battle maneuvers is considered one of his hallmarks. Here, the fury of nature is as perilous as any adversary, and challenge met by the men shown on deck.