This charming and distinguished looking couple still survive in the radiance of their youth captured for all time by the Plymouth portraitist W. Andresen. Although we know little about the artist, his skill is evident in the fine quality of these images.

Captain Evelyn R. le Marchant, commander of his Britannic majesty's battleship `Nile', posed for this portrait in Plymouth, England in January 1906. His vessel, one of the earliest battleships to operate without sails, is shown anchored in the background. The following month his lovely wife Edith posed for her portrait. These two fine images show an interesting balance with the man of the sea in his element and his shoreside wife surrounded by her garden.

Both paintings are very well done in watercolor with added body color, pencil, and charcoal. Their condition is outstanding and both are mounted in their original period frames with antique glass.

Just northwest of the famous Santa Monica Pier, a romantic rendevous of an enlisted seaman and his blonde companion is casually observed by a man that we believe to be no other than the artist David Burliuk, painted into his own work. He was renown for his top-hatted attire and shock black hair. Santa Monica and Venice beaches had become prominent destinations for the personnel of the American Armed Forces, with dance halls, amusement rides and the Big Bands in full operation in the early 1940s.

The bluff top vantage point of Palisades Park remains with its cozy fences and benches, an abrupt end to the land approaching Pacific Coast Highway today and in his painting the North Beach Resort tourist facilities are displayed in its then-fading grandeur. The pier and Venice had taken away the dominance of the 1895 structure, with was partially removed and converted later. Still, the mix of Spanish architecture and practical angled roofs and antenna with roof top patios is present.

The layered texture of the brilliant sunset and localized fauna builds the scene warmly. The shore wash hold white froth created as a true watercolorist, with the paper showing through. The reportedly dynamic Burliuk is no less so with his choice of colors with a mix of purple, red and yellow in the sky. The artistry present is charmingly simple of a small town on the verge of blooming into the megalopolis of Los Angeles.

This charming and distinguished looking couple still survive in the radiance of their youth captured for all time by the Plymouth portraitist W. Andresen. Although we know little about the artist, his skill is evident in the fine quality of these images.

Captain Evelyn R. le Marchant, commander of his Britannic majesty's battleship NILE, posed for this portrait in Plymouth, England in January 1906. His vessel, one of the earliest battleships to operate without sails, is shown anchored in the background. The following month his lovely wife Edith posed for her portrait. These two fine images show an interesting balance with the man of the sea in his element and his shoreside wife surrounded by her garden.

Both paintings are very well done in watercolor with added body color, pencil, and charcoal. Their condition is outstanding and both are mounted in their original period frames with antique glass.

Suggesting a view of the Florida Keys or possibly the Caribbean, this interesting composition by Anthony Thieme shows a local working craft, most likely a shrimper or sponge boat, wrapped in close enough to shore to be moored to a tall pine tree.

With headsails drying in the sun, the boat's crewmen busy themselves on deck at the daily tasks required to maintain a working vessel. Under the bowsprit Thieme has used soft greens to capture the translucence of shallow water on a sand bottom, gently fading as it extends to the small cay across the channel where a working schooner lies bow in to the shore.

Relatively obscure waterfront scenes from areas such as this capture and record common elements of the day to day existence of life on and around the water. Anthony Thieme enjoyed creating views of many of the unsung harbors along America's coastline, capturing their essence with his own brand of eloquence and subtle charm.

It is subjectively proven that artistic inspiration strikes individuals in varied and unique ways. In this single painting, an appreciative audience may examine how the early luminous artist brought forth a work of accomplished artistic beauty from the subject matter of the rescue of a ship which has lost most of her rig. The sense is one of relief, not disaster, and further examination illustrates just how expertly Curtis was at portraying complex emotion’s with subtle suggestive touches.

The weather holds as a fair day with an etheral fog lingering about while a coastal schooner takes passengers aboard. The danger of being stranded or even sinking has faded, and gone is the zephyr which de-masted the sailing ship. The weather has turned so fair as to make it possible for a sailing barque and sidewheel steamer to continue on to their destinations beyond the two ships, which certainly are in view to the distressed ship at distance.

Curtis is considered a rising stars of marine art; all quite unusual when it is marked that he painted more than 100 years ago. His re-emergence well established, his original takes on painting views of Boston area ships and harbors made him a local favorite then and an a nationally sought after artist today. He is one of America’s premier marine luminous artists.

The crowd is out strolling along the Long Pier of Trouville, the first and premier of the French beach resorts south of the Seine River. The age has begun to awakened beyond Quaker and Victorian sensibilities, and bathing and sea-side resorts along the Normandy coast are in full fashion. The Long Pier was built from 1885 to 1889, straight out from the center of the city. Partially on the account that it is a 5-hour train ride from Paris, the first French coastal hotels established here in the mid-19th Century to success.

A charming work with a vast depth of field for its size, the view is from standing on the pier looking back at the city. The changing tents are of a more permanent sort, an evolutionary design from the original bathing wagons used by French society which allowed the women passengers to stay sheltered right up to the water’s edge. The beach would have numerous changing tents of a temporary nature.

Narratives of people at leisure are widely enjoyed for the depictions of yesterday with the reminiscent charm each inspires. With this in mind, it is interesting to note that it was important to Loir to capture the changing face of modern France as the 20TH Century approached, and to hold artistic witness to the everyday courtesies and actions of his national citizens.