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Chinese School
Chinese (1775-1900)

Ship FRANK CARVILL off Hong Kong
North American Built

Sought by collectors worldwide, art showing an early western presence in the Orient boomed with the opening of the China Trade by way of the sailing ship. The competition between the Dutch and English, followed by America and England, for the growing tea trade contributed to a worldwide focus in the orient trade. As a result, captains commissioned talented Chinese artists to document the vessels whose reputation for speed and efficiency were breaking all records.

This portrait was likely commissioned by the company, Francis Carvill and Sons to document their new ship, the FRANK CARVILL, built in New Brunswick, Canada in 1875, as she carried a cargo into the port of Hong Kong.

Francis “Frank” Carvill (1800-1854) was, in his time, the largest employer and trader in the port of Newry, County Down, Ireland. Besides owning sawmills and factories, Carvill was the first person to bring shipbuilding to Newry and owned several vessels himself. The Carvill Company acted as an emigration agent for those going to North America during the worst years of the Irish Potato Famine, with many successful sailings to ports in America and Canada. Carvill’s vessels were known to be sound and comfortable with captains who were kindly custodians of those making the perilous crossing. Newry County still retains the letters of praise and gratitude to Carvill and Co. from former fellow townsmen whom they had carried to new lives. It is said that there was hardly a project in the town that Carvill didn’t touch, and he is remembered as a great civic supporter and philanthropist. It is no wonder then that in later years his sons would name one of the company’s new ships in honor of their father.

The business would continue to grow after Frank Carvill’s death, broadening their interests to further manufacturing and shipping of goods which clearly included commerce in the bustling ports of Asia, where this portrait would have been made. This is a particularly well rendered and detailed painting with excellent coloration. The ship is shown at her best, in good proportion with sail and deck in high detail. That combined with an unusually fine depiction of sea and sky mark this as the work of an highly skilled artisan of the Chinese School.

Set in a period Chinese Chippendale frame with gilt highlights.

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Charles Cohill
American (c.1812-1860)

Rare American Portrait of Whale Ship Captain Moses Nickerson
with Ephemera

Master Mariner Moses Nickerson, son of Ezra Nickerson, was born in 1812, and died at sea in 1871. The Nickerson family is quite prominent throughout Barnstable County which encompasses all of Cape Cod. The family is primarily descended from William Nickerson (1604–1689), founder of the town of Chatham. Captain Nickerson’s home is one of Cape Cod’s historic landmarks and is preserved as a popular Bed and Breakfast Inn at Chatham.

The Nickersons are legendary throughout the New England whale fishery. A well-known and respected whaling captain, Moses Nickerson commanded numerous whale ships. His young cousin, Thomas Nickerson was the 15 year-old cabin boy aboard the famous whale ship ESSEX that was sunk by a sperm whale in 1820 and became the basis for Herman Melville’s Moby Dick and is a main character in the 2015 film “In the Heart of the Sea”.

Between 1840 and 1850 Moses Nickerson was known to have owned or captained five whale ships: 130 ton Schooner R. S. SOPER, 80 ton Schooner E. R. COOK, 130 ton Schooner WALTER ERWIN, 162 ton Brig GEM and 130 ton Brig ENOCH NICKERSON.

Included with the painting is an original letter, written from Captain Nickerson to his wife dated July 12th, 1863. In it, he details preparations for the voyage he is about to undertake from Belfast, Ireland back home to Cape Cod, Massachusetts aboard his ship MARY EDSON. Photos of the letter and a copy of the text are shown here.

The first chapter in any history of American art will relate that the earliest paintings done here were traditional portraits of American Sea Captains. The sources for the New World’s indigenous art, may be traced to America’s dependence and development of the Maritime culture. Paintings of this quality are highly sought after by knowledgeable collectors and museums world-wide.

Charles Cohill (1812-1860) was a Pennsylvania artist who studied under John Neagle and specialized in oil portraits such as this fine example. Cohill portrays a young Captain Nickerson aged 34 years, in a frock coat, white shirt and cravat holding a two-draw mahogany and brass telescope.

Both Cohill and his subject were the same age at the time of this sitting. Saluting medieval tradition, the small vignette to the left shows a ship, likely one of the Captain’s whalers, heading out to sea under full sail. Direct and unpretentious, this portrait shows the artist’s use of full lighting on the face to enhance features and suggest personality. The subtle luminosity suffuses the background and adds depth overall. This portrait was created to outlast Moses Nickerson’s mortality, and it has succeeded admirably.

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Montague Dawson
British (1895-1973)

Nearing Home, The HELICON

Bright and magnificent, the Ship HELICON slices on a quick reach in this maritime merchant ship portrait with its remarkable realism in his signature loose stroke. The sailing ship carries a proper spread of canvas for the existing wind, and Montague Dawson portrays numerous sailors active on her deck and in the rigging. Her white hull glistens, and shows some of the inevitable rust of a hard-working steel-and-iron hull ship. The ocean is alive with movement beneath the ship.

HELICON was built by Charles Connell & Co. of Glasgow to order for German owners Bernard Wencke & Son in 1887. She measured 230'6" Length with a 38'4" Beam, and weighed in at 1613 net tons. Connell & Co. had launched a near-identical sister ship to HELICON the year prior, the historic vessel BALCLUTHA, which is now a famous museum ship based in San Francisco.

After Wencke purchased the British STAR OF THE SEA in 1884, they renamed that ship HELICON. Loaded with 2000 tons of railroad tracks, the ship departed Hull on Feb. 2, 1886, bound for Sydney. She was never seen again. In memory, the Wencke firm named their newest ship HELICON, and it served the company on voyages to Australia, Chile and Africa for years, selling to Spanish interests in 1920. The ship served nine more years as VIUDA LLUSA, until broken up in 1929. Dawson may have known this ship early as an artist, and revisited the subject later in his career to produce this painting.

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Montague Dawson
British (1895-1973)

U.S.S. Ranger v. H.M.S. Drake Off the Coast of Ireland


Published in the November 13, 1952 Issue of “The Sphere”, Il. pg 18-19 in “A Chapter from Maritime History, When Paul Jones Harried Our Shores”

During his long career Montague Dawson created many illustrative works, both as an official war artist and for publications like Britain's "The Sphere" magazine, published between 1900-1964. Most Dawson painted in the classical grisaille technique; using shades of grey to create tremendous depth and dimensionality. This exciting battle scene was created for such an article, detailing the exploits of American Revolutionary War Hero Captain John Paul Jones along England's coast.

Vowing to take the war to England directly, Jones said he would show the English that "Not all their boasted navy can protect their own coasts and that the scenes of distress which they have occasioned in America may soon be brought home to their own door."

Jones had seen success defending America's coasts earlier in the war, and by November of 1777 he was given command of the newly launched Sloop of War U.S.S. RANGER and free reign to cross the Atlantic and make good his promise. He raised the first Union flag on the ship and sailed for Brest, where the French fleet was the first to salute America's new flag in a foreign port.

Sailing for England, RANGER's crew made two successful clandestine raids in the ports of Whitehaven and St. Mary's Isle, but all along Jones had his mind on a ship off Ireland. Jones had learned from captured sailors that the English sloop H.M.S. DRAKE was anchored off Carrickfergus, and so sailed across the Irish channel, eager to finally engage the British Navy directly.

Late in the afternoon of April 24, 1778, DRAKE sailed out of Carrickfergus harbor along with several smaller craft loaded with townsfolk eager to see the upstart Americans defeated. Jones waited for the DRAKE to come within hailing distance and when the DRAKE's captain demanded he identify himself Jones replied, "The American Ship RANGER! We wait for you, and desire that you come on. The sun is now little more than an hour from setting, it is time to begin!"

The ships were roughly equals in firepower but one hour later DRAKE's rigging was shot to pieces, the fore and main topsail yards were both cut away, topgallant yard and mizzen gaff left hanging, and the masts and hull were badly damaged.

It is this critical point in the combat which Dawson has illustrated here, and that the magazine featured as the article's main image, spread large across two pages. Both ships are fully engaged- with bright cannon flash and thick powder smoke, waves breaking across their hulls. Men fly among the rigging, trying to maneuver each ship to best firing position, while others man cannon and rail guns, firing at will. Bold tones and deep contrast create an electrifying depiction of the pitched battle, set against the fading daylight.

Jones won decisively. DRAKE's captain and lieutenant were killed in the fighting, and her remaining officer had to strike her colors soon after. By the end, 42 of the DRAKE's crew were dead or wounded, compared to only eight on the RANGER. Patching up the ships Jones sailed on, eventually returning to France with the captured ship and 200 English prisoners.

RANGER's capture of DRAKE was one of the Continental Navy's few significant military victories during the Revolution, and was of immense symbolic importance, demonstrating to the world that the mighty British Navy was not invincible. RANGER's victory became an important symbol of the American spirit and served as an inspiration for the permanent establishment of the United States Navy after the Revolution.

Dawson was an accomplished painter of battle scenes, which are consistently among his most desirable and valuable works. This painting combines tremendous historical significance with excellent artistic execution and confirmed publication; a jewel for the collector or anyone with a love of American history.

Includes an original copy of "The Sphere" in which the article appeared, and which features other Dawson illustrations for the article.

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William Edgar
Australian-American (1870 -c. 1918)

Barkentine THOMAS P. EMIGH
with Photos and Ephemera

Reaching under full sail, including a jib-headed “kicker” topsail on the Jigger mast, the white-hulled barkentine THOMAS P. EMIGH is depicted approaching what appears to be the headland near Byron’s Bay, Australia. The EMIGH engaged primarily in the Pacific lumber trade and Byron’s Bay was one of Australia’s foremost timber ports. Byron Point lighthouse, which marks the easternmost point on the Australian continent, is visible on its promontory high in the mist in the far distance. A tug, a steamer and a schooner are shown off the harbor entrance, under the EMIGH’s bowsprit.

Launched at Tacoma in 1902, the 1040 ton THOS P. EMIGH was owned and operated by the Charles Nelson Shipping Company of Oakland whose house flag is shown at the truck of the mainmast. Her correct signal letters K.R.L.Q. are displayed beneath the American ensign at the top of the Jigger mast. At 211.6’L x 42.4’B x 16.4’D, the EMIGH was the largest vessel built by the legendary Northern California shipbuilder Thomas Petersen.

William Edgar ship portraits are stunning in their realism and attention to nautical detail. His realistic seas capture the offshore blues and greens found only in deep offshore waters and his skies are abundant with nautical atmosphere. This portrait of the THOMAS P. EMIGH shows her sailing with every sail in the inventory full and drawing, parting the waves with a prominent “bone in her teeth.”

The painting is accompanied by photos of the ship launching and on deck scenes of the captain and his family as well as a letter from the captain to his wife. These items were handed down through the family of the ship’s part owner and master, M.A. Ipsen.

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Jack L. Gray
Canadian (1927-1981)

The Grand Banks

Calling in her dories through a thickening fog, the Lunenburg Grand Banker ALCALA, is beautifully portrayed by Nova Scotia sea painter Jack L. Gray. Gray’s earthy depictions of maritime life are regularly sought after for their realism and narrative excellence. Gray was born in Halifax, Nova Scotia and as a teenager, developed his love for the sea and painting at about the same time. His significant time spent at sea familiarized him with the realities of maritime endeavor, which is portrayed genuinely in all of his paintings.

Gray spent several years working aboard boats. He traveled to New York aboard his 15-foot skiff named S.O.B, which, for a time, also served as his studio. In New York, he often painted from a vantage point on the deck of the US Navy aircraft carrier ENTERPRISE. With these unique views of the harbor, Gray created an important body of work during his time in New York.

The 126 foot long ALCALA was built in 1919 at Lunenburg, Nova Scotia. The first seven years of her life were spent working the Grand Banks out of the small port of Digby until 1929, when she changed her registry to St. John’s, Newfoundland. In the early 20th century, Canada’s schooner fleet was a mainstay of the Cod fishing industry. Along with their US counterparts, these strongly built Canadian vessels, would spend months at a time on the Grand Banks, sending out their dories daily to seek the highly prized Atlantic Cod. ALCALA was a well-known “high liner” bringing record catches of cod to market still fresh due to her legendary speed under sail.

In this painting, two of ALCALA’s dories are making their way back to the schooner after a day of exhausting handline fishing. Dory #8 is in the foreground, her two “dory mates” up to their knees in fresh cod. In the distance, a second dory, this one under sail also approaches the schooner. ALCALA is jogging along under just her fore and main sails as the hard working fishermen come alongside to unload the day’s bounty.

Gray gets everything right in a beautiful composition rich in his trademark detail. The misty offshore atmosphere is accented by the red hull of the foreground dory and the fishermen’s sou’westers and colorful work clothes. Perspective between the dory and the graceful schooner is masterfully highlighted by the ever present swarm of seabirds circling in hopes the occasional cod will escape the unloading process and become a tasty snack.

Gray’s stirring depictions of maritime life are regularly sought after throughout the USA and Canada and can often exceed expectations when they are up for public sale and auctions. This is one of the best examples we have seen of his work.

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