Escalating early in the 19th century and into the late 1870s with the dangerous smuggling of opium, the China trade route has been an important era in trade. The development of competition between America and Britain for the growing tea trade contributed to a focus in the orient. As a result, many captains commissioned talented Chinese artists to document these vessels, both sail and steam powered, whose reputation for speed, efficiency were known to break all records.

Values of China trade works have shown very strong responses in the marine art market. Several factors contribute to this success: they combine a traditional portrait style with very romantic overtones; their demand is also due to the distinct features that the works possess. A Chinese school work can be recognized immediately by its unique style and technique: straightforward and direct, yet sophisticated in both coloration and detailing.

The common sailors, with increasing disdain for the pomp of the British admiralty in the naming of her great ships, especially to the education-challenged, called the fine ship the “Billy Ruffian”; a name they could infinitely more or less identify with. China trade shipping era is part of an important, exciting period of western history lasting nearly two centuries and continuing through our present times.

In what is Ranwell’s most widely known image, as it was reproduced as an engraving the year following its completion by T. Pickens of London, he captured the significant launching of the last of the St. George-class First Rate, H.M.S. TRAFALGAR, on June 21st, 1841. This original work unveils magnificent details of the event.

As notice went out in the community days before the event that Queen Victoria, the royal consort and their entourage would be in attendance, and the ship would be one of the largest in history brought off the ways of the Woolwich yard, thousands of people pre-purchased tickets to the event. As well, a slew of sailing and steam ships crowded with passengers tucked into the modest river harbor to catch the spectacular view. it is reported that among the ships present were the WILLIAM & MARY Royal Yacht, the steamers SALAMANDER, LONDON, GREENWICH, GRAVESEND, LEITH SCOTCH, and the Marquis of Anglesea’s PEARL YACHT. The artist faithfully captures the immense nature of the event and crowd present, naming additional yachts and highlighting the Queen’s appearance and presence beneath the arches before the bow with her bright white dress and the royal seal-of-state above.

TRAFALGAR, carrying 120 guns herself, launched with a barrage of artillery into an era of unprecedented British peace. First ordered in 1825, the ship’s keel was laid in 1829. After 12 years the 205.5’ length ship of 2693 tons was brought about to sail. She would be converted to steam power in 1859, and would be renamed H.M.S. BOSCAWEN in 1873 when she took duty as a cadet training ship in Southampton and Portland. A truly historic moment captured by an artist concerned as well with the fine aesthetics of his trade. The work must be viewed at length to truly appreciate the exact details of period clothing and proportionate scale as well as the fine detailed of the ships.

On a summer day, August 13, 1812, the American Frigate ESSEX struck the first victory in the war that would alter the British dominance of the world’s oceans in favor of the America Navy. His Majesty’s Sloop ALERT spotted the frigate, and with three cheers sailed windward to battle in the Atlantic Ocean. After eight minutes of accurate and devastating cannon fire by the Americans, ALERT struck here colors and surrendered to Captain David Porter.

ESSEX would capture 9 more prizes within the month, including a British ship with more than $50,000 in gold bullion, and failing to meet up with CONSTITUTION and others at a planned rendevous, Captain Porter took his vessel and crew onward to attack British whaling in the South Pacific. It proved a successful and fateful campaign through with 13 prizes until the capture of the ESSEX on March 29, 1814 by H.M.S. PHOEBE and CHERUB at Valparaiso.

Captain Porter wasn’t alone in command of the ESSEX. After launching out of Salem by Egos Briggs in 1799, sponsored by the people of Salem and Essex County, her first commander was Captain Edward Pebble in the Quasi-War with France and the Barbary War, the first U.S. Naval vessel to cross the equator. Captain William Bainbridge followed, and Porter’s adopted son, David Farragut, was a 12-year old midshipman on ESSEX in Valparaiso. Admiral Farragut would go on to lead the North’s efforts in the naval actions of the American Civil War. Provenance: Private Minnesota Collection.

On an evening in 1814. H.M. Packet HINCHINBROOKE, successfully fought off the American Privateer Bring GRAND TURK. GRAND TURK was the third to wear this name; the second as a privateer, following after Elias Haskett Derby's famous privateer of the American Revolution, a three-masted ship of 28 guns and 120 men. Bentham-Dinsdale's excellent portrayal of the encounter is a perfect example of the intersection of history and legend, as he shows the British record that it was the much larger Revolutionary War's GRAND TURK that HINCHINBROOKE turned back, and not the more closely matched privateer brig.

GRAND TURK (III) was build in Wiscasset, Maine as a 300-ton vessel on spec, and was offered through an advertisement in the Salem GAZETTE on Sept. 8th, 1812. Twenty-seven Salem parties, and one each from Boston and Marblehead invested in the brig, and armed her to protect their shipping interests and to profit from the warfare where possible. HINCHINBROOKE was built in 1813 for the Falmouth Packet Service of Capt. James & Company.

After a two-hour pursuit, complete with maneuvers and some small arms fire, a successful broadside rake from the HINCHINBROOKE disabled GRAND TURK and the pursuit of a British mail-carrier was brought to an end. Still, the American brig had a successful career as a privateer during the War of 1812, capturing more than 28 prizes and is recorded as, "unquestionably one of the most successful private armed vessels of the War of 1812." GRAND TURK sold to the shipping interests of William Gray of Salem in 1815. This fine, detailed work by Bentham-Dinsdale skillfully honors the action of his British countrymen.

The sovereignty of the new American Nation was tested early in the 19TH Century as, in the shadow of the Napoleonic Conflict between France and England, American merchant shipping became the primary neutral force in the world. Two of the principle causes for the hostilities which led to the War of 1812 were the desertion of British sailors to the better pay and conditions of American ship, and the British Naval search and impressment of American citizens to serve on their war ships.

A bloody yet decisive American victory was found on September 5, 1813, when the U.S.S. ENTERPRISE of 16-guns fell in with British Naval Brig BOXER of 14-guns off Pemaquid Point, Maine. Both the American captain, Lieutenant William Burrows, and British Captain Samuel Blyth led their respective crews into the engagement, and Blyth was mortally wounded in the first salvo, and Burrows would fall soon after, leaving both ships in the hands of junior officers. Edward McCall would complete the victory for ENTERPRISE, leading the captured ship into Portland. Both captains would be given burial honors side-by-side in the city’s Eastern Cemetery, and Blyth’s sword was sent home.

A finely detailed and composed work of art, Bentham-Dinsdale skillfully captured the courage on display and the mortal effects of the combat action, with the ships showing their shared distress. After several early victories, the war had begun to look more dismal, so the American press took this victory and ran with it, pushing for a decisive result. They have it the following year, not long after the Battle of Lake Erie.

Once opened to Western ships, the Orient delivered treasures never before imagined by the European and American public. The cultural works of carved figures, quality furniture and unusual fabrics were extremely popular and remain so. The Chinese artists who produced the port and ship paintings, for the most part, first studied with painters of the Dutch, Italian and English schools of art, or within the studios of Chinese artist who had studied. Their intended patrons were the merchant sailors themselves.

This artwork shows a view of the stretch known as the Bund at Shanghai. From a view upon the Huangpu River with Chinese, American and British ships, it shows the Western trading warehouses surrounding the oriental architecture of the local customs house just left of center. A realistic view of the important merchant area, painted prior to the 1860s when the custom house exterior was rebuilt in the Western tradition.

Shanghai was one of the five ports conceded to Western access after the Treaty of Nanking in 1843, concluding the first Opium War of 1839. Along with access to Canton, Amoy, Foochow and Ningpo, China conceded possession of Hong Kong and paid Britain $20 million. Shanghai would become the most important and westernized of the five. Even at this early point, the Western influences are visible, including a sailing schooner yacht and national flags.