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Ephemera - Trophys & Presentions - Show All - Vallejo Maritime Gallery - Specialists in 18th, 19th, and 20th Century Marine Arts and Artifacts - Maritime and Marine Themed Art and Artifacts
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Charles Cohill
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Rare American Portrait of Whale Ship Captain Moses Nickerson

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.

Montague Dawson
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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.

William Edgar
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Barkentine THOMAS P. EMIGH

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.

Jack L. Gray
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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.

William John Huggins
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The Northern Whale Fishery

The Ship Harmony of Hull and Other Ice-Bound Whalers on the Davis Straits between Baffin Bay, Canada and Greenland.

Huggins, a one time a sailor with the East India Company and firsthand witness to the scene depicted, first painted this well-known image in 1828. Entitled Northern Whale Fishery, the image was engraved by Edward Duncan in 1829 (Huggins son-in-law) and brought greater fame to both men for illuminating the rewards and perils of whaling in the icy waters on the Davis Strait whaling ground between southeast Baffin Bay, Canada and Greenland. The original 1828 work now hangs in the renowned New Bedford Whaling Museum, New Bedford, Massachusetts.

This second, larger and more proficient interpretation of the scene was most likely commissioned by Robert Bell in 1835 (son to Thomas Bell, owner of the HARMONY). The American built bark HARMONY of 292 tons sits at the center of the painting with the MARGARET of London to the left and the ELIZA SWAN of Montrose to the right. Filled with incredible detail throughout, nearly every aspect of whaling is depicted- from the chase and capture, to processing the catch alongside, to “trying out” or boiling down the blubber on HARMONY’s bow.

Two other masted ships are shown, including one foundering as the ice closes in on her hull, her crew surely trying to salvage what they can as they stand alongside. Penguins gather on an ice floe near one of the twelve depicted whale boats as it closes in on a catch. Birds circle all the ships, hoping for a morsel. Huggins sets the scene masterfully and the viewer can almost feel what it’s like to be there.

Authentic period paintings of the very interesting and historically significant whaling era are extremely rare. This painting not only depicts history, it is itself an important piece of history, combining fine detail, skillful brushwork and sensitive coloration in a work that any collector would cherish.

Antonio Jacobsen
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New York Yacht Club Fleet Race, 1889 PALMER Leading ATALANTA

Antonio Jacobsen was an incredibly prolific artist, but the works most prized by collectors are his yachting scenes, particularly pieces like this exceptional example, done in his best period the late 1880’s, featuring yachts of the New York Yacht Club.

In what appears to be a fleet race for New York Yacht Club Members on Long Island Sound during the 1880’s, the foreground vessel is easily identified by her owner’s private signal as the center-board schooner PALMER, built in 1869 for Rutherford Stuyvesant, an early member of the New York Yacht Club. The schooner was named after the famous designer and clipper ship captain Nathaniel B. Palmer who was also a member and early promoter of the NYYC.

Trailing the leading boats is a twin stack side-wheel excursion steamer, a common sight at such races. Jacobsen himself must have been among the spectators on such boats many times to so well capture the graceful sweep of sails above sleek hulls cutting through the waves. Many other ships populate the distant horizon on both sides, including on the right a hove to sailing ship with a steam tug moving away, having dropped the tow after delivering the ship to its anchorage.

The 100’ PALMER was designed by R.F. Loper; and built at Philadelphia in 1869 at the yard of Hillman and Steaker. This yacht was one of four NYYC schooners selected for the second defense of the America’s Cup in October, 1871. She enjoyed a successful racing career well into the 20th century.

The indistinct owner’s pennant on the vessel immediately trailing PALMER off her port quarter points to it being the 100’ schooner ATALANTA- the first racer owned by William B. Astor, Jr. The 145 Ton ATALANTA was built by David Carll (1830-1888) at City Island, New York in 1873 and became widely known as a fast boat, especially in light winds. Her name was later shortened to ATLANTA. She was the first of several successful racing schooners owned by Astor. Jacobsen’s use of color and excellent composition of this desirable subject- well-known schooners matched many times- make it a top work by the artist.

Thomas Luny
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Action off a Lee Shore

With her lower yards braced hard against the wind, this proud British fifth rater claws her way to windward in order to escape a perilous meeting with the looming shore. With the blue peter streaming gallantly in the wind and her figurehead riding boldly above the waves, all hands have been mustered on deck and the gun ports opened, ready for action against the fleeing Baltic sloop on the horizon.

These able 40 gun frigates were the supreme commerce raiders of their time. Measuring up to 150 feet in length they carried crews of up to 250 eager volunteers due to the ongoing promise of substantial prize money. In fleet actions they were the fast and far ranging scouts sent to search out and shadow the enemy until the main fleet could engage.

In this fine work from Thomas Luny's early period the artist has superbly captured an unfolding drama at sea with all the apprehension of maneuvering in dangerous waters and the building excitement of the pending battle. Luny's early paintings, such as this one, completed prior to the beginning of the 19th century are considered to be some of his most accomplished and sought after works.

Robert Salmon
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Liverpool from the Wallesey Foreshore

In a view from the Wirral Peninsula, Robert Salmon offers a scene of maritime activity along the Wallasey Foreshore with a highly detailed view of the city and harbor of Liverpool from across the Mersey River.

In the foreground, a merchant ship and a small brig are careened on even keel for some low-tide maintenance below the waterline and both vessels have their sails slack for drying. A workboat alongside the center vessel has a crew working on the ship’s exposed underwater surfaces. The trademark luminism seen in Salmon’s best works is on display here, rendering a late afternoon sun outlining the clouds and illuminating the sails, adding a golden glow to the entire painting.

To the left, another ship is proceeding downriver under full sail in mid-channel. Numerous small sailing craft are in evidence along the Liverpool waterfront and a small yawl–rigged ferry is landing at the mouth of one of the Wirral Pools in the right middle ground. Two of Salmon’s ever present small rowing boats are seen to the left of the painting, one coming ashore just astern of the central vessel, and one in mid-stream between the shore and the outward bound ship.

Salmon has portrayed the Liverpool shore from its northern boundary with his usual attention to detail, with several principal landmarks in view. Just astern of the vessel underway in the channel, the Bootle Chimney emits a column of smoke next to Seaforth Church. The dome of St. Paul’s Cathedral is visible through the primary vessel’s brailed up spanker with the town hall dome shown between the main and mizzen masts. The spire of St. George’s Church is seen between the fore and main masts. To the right is a castellated wall marking one of the Wallasey shore fortifications.

One of the joys of Salmon’s paintings are the many human figures offering small vignettes of seafaring life. Here to the right fore we see a pair of sailors caulking the seams of a small fishing craft while a well-dressed spectator looks on. Just beyond, another figure wades, chest-deep, through one of the pools. He’s likely a shrimper, balancing his bundled catch on his shoulders. There are nearly 100 figures shown here, between the ships and land, all drawn to the active shoreline of one of Britain’s great port cities.

Salmon used alternate spellings of his last name, and the version here, “Saloman” was a known variant used to sign paintings.

Robert Salmon
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Whitehaven Quay

Whitehaven is a small town and port on the coast of Cumbria, England 70 miles North of Liverpool. Historically a part of Cumberland, it has a manmade harbor which partially dries out at low water due to its exposure to the prevailing westerly winds.

This animated scene likely depicts the sinking of the British ship ACTIVE which sank in strong winds just off Whitehaven Beach on November 25, 1826, after completing a voyage from Dublin. ACTIVE was one of two vessels lost at Whitehaven on the same day. Citizen volunteers of the Whitehaven Surf Lifesaving Service are shown launching a rescue boat to aid the desperate crewmen seen clinging to the rigging of the foundering ship. Two other vessels are shown careened on the beach as was common during low water. Whitehaven Quay, and the uncompleted West Pier lighthouse are prominent details in the background. The seawalls and piers at Whitehaven, protecting the inner harbor, were developed over a considerable span of time. The masts of vessels berthed in the inner harbor are detailed prominently behind the West Pier lighthouse.

Although mostly associated with Liverpool and Boston, Robert Salmon was born in Whitehaven in 1775. In 1802, the first painting he exhibited at the Royal Academy was of Whitehaven harbor. The range of Salmon’s compositions extends well beyond those of his contemporaries. His skillful use of light and shade adds interest and perspective to the subject. Salmon’s characteristic luminosity and depth of field highlights his outstanding attention to detail.

Salmon’s paintings are notable for their subtle lighting in sea and sky. The threatening atmosphere in this view shows a dramatic cloud formation that aptly illustrates the drama and ever present perils of the rugged English coast. The wind whipped sea is receding from the shore, the tidal forces creating violent wave action in direct opposition to the prevailing wind. Such detail is typical of Robert Salmon’s obsession with accurately portraying weather conditions in all of his paintings.

This work illustrates an air of sophistication evocative of the most skilled examples Robert Salmon’s celebrated career.

Henry Scott
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Stunsails Wide

A bright sky serves as a background to fast-moving merchant sailing ship on a deep-toned rolling ocean in this oil painting by maritime enthusiast and artist Henry Scott. The medium clipper, tall at five courses of sail up her masts, employs stuns’ls at the extreme lengths of her yards, using the extra canvas to push ahead of her competitor on the horizon.

Scott, an artistic fixture amongst the wharfs of Liverpool, was well familiar with some of the last Clipper Ships sailing. His professional association with the Master Mariners of Liverpool kept him recording the great ships of his days and the historic vessels and stories personally recounted to him by the men who lived those moments. The tea trade and racing to be the first ship to market were some of the most prominent stories told, but far from the only ones. Epic storms, fast passages and chance encounters over the world’s oceans all make appearances in his artworks. Crew members manning the forward rail would have some interesting tales to tell.

Illuminating the canvas work of Scott’s textured brush strokes, which in this case are intentionally capturing the direction of the natural elements. One of several artists to follow in the wake of Marine Master Montague Dawson, Scott was also represented by Frost & Reed Galleries. In this case, Scott is careful to show neither the ship’s carved figurehead or nameboard to concrete his subject ship’s identity. Scott chose her instead to be representative of a great many of the last “Wooden Walls” of the world’s merchant sailing ships.

Warren Sheppard
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Departing New York

Warren Sheppard’s gentle luminism bathes this work with the warm tones of a late afternoon on New York’s East River in 1876. The location appears to be on Little Neck Bay looking North towards Throggs Neck, on the south-eastern tip of the Bronx, where the East River meets Long Island Sound. The fort depicted in the right background is Fort Schuyler, which today houses the prestigious Maritime Industry Museum and the State University Maritime College.

A skilled navigator and yacht designer, Warren Sheppard created paintings abundant with details learned from a lifetime spent at sea. The authenticity so prevalent in Sheppard’s work is combined with painterly skills learned while studying as a young man with the esteemed Dutch marine master M.F.H. De Haas. This composition is so beautifully balanced it presents the viewer with a seemingly un-posed tableau of life on the East River in the late 19th century.

The central vessel is a schooner-barque or barkentine, with sails raised, but still un-sheeted and slack. The presence of the steam tug in the foreground and crewmen who appear to be working the barkentine’s ground tackle suggests the ship is just raising anchor and will soon be assisted down-channel to the sea by the tug. The towboat wears no livery or markings to identify it, but is most likely owned by the Greenpoint Literage Company which was the foundation of the McAllister Brothers Towing Co., that sent tugs out from their docks in nearby Queens. Today, McAllister continues to operate tugs all over the East Coast. Two schooners are working in the background with a small brig riding at anchor to the far right of the composition.

This painting is an important example of Sheppard’s most sought after style and subject. Housed in its original period gilt frame.

Warren Sheppard
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Yacht CORNELIA at the New York Yacht Club Regatta

A memorable American yacht racing moment, preserved as art, has several schooners owned by members of the New York Yacht Club racing in their annual summer regatta on June 11, 1874. Prominent in the center of this painting is CORNELIA, owned by Dr. Joseph Vondy. Vondy was a member of both the N.Y.Y.C. and the Jersey City Yacht Club, and most likely directly commissioned artist Warren Sheppard. Closest in competition is the Schooner VISION, owned by member J.S. Alexandre with his family’s burgee atop the main, and a nearby top-sail schooner. In the distance is believed the event’s winner, John Walker’s Schooner GRACIE. The Sandy Hook Lighthouse is a small white sliver of a tower, visible above CORNELIA’s stern rail and light-brightened sails.

Sheppard was well known in the late 19th Century New York art world, and a proponent of maritime activities. This era saw changes in American yacht racing, with a growing audience, the publication of the first yachting annual, Fox’s in 1872, and the international debate over measures and ratings that would dominate the coming decade. The New York club’s outside ocean course offered a different challenge, and the big schooners excelled over it. CORNELIA, built in 1873 by James McGarrick, measured a respectable 65' 8".

The atmosphere is full of heavy, darker clouds, and CORNELIA has turned into the headlong wind. VISION is preparing to come about, and the rolling swells are breaking against their sharp hulls. The annual regatta, first held in 1845 just after the birth of the club, took slightly more than six hours to complete this year. CORNELIA would leave the club’s list by 1877. James E. Buttersworth would also paint this race near the Sandy Hook Lightship; his painting today is in the Mystic Maritime Museum collection.

John Stobart
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Ship N.B. PALMER off the Golden Gate

A stalwart American Clipper Ship, N.B. PALMER launched in 1851 out of Jacob Westervelt’s New York yard. Named after the renowned Stonington, Connecticut sea captain and ship designer Nathaniel Brown Palmer, whose exploits include becoming a ship’s captain at 21, and soon after being the first American captain to discover the Antarctic Peninsula. The namesake clipper ship, owned by A.A. Lowe & Brother, sailed for the company for years in the China Trade. The Lowe’s were very successful with their Chinese business dealings, and owned several of earliest American clippers built.

The artist John Stobart is known for being an exacting historian as well as a leading marine artist. Well proportioned with sleek lines, the ship sails over an excellent portrayal of the Pacific Ocean and vast bright sky. Distant ships near the California headland are in view. His precise details reveal more about the 202' large clipper; her Merchant Code flags are up the hoist above the American ensign, and she slices a speedy wake as she cuts across the open water. Stobart painted a superior blend of sunlight and shadows on the sails. In 1858, she set a record of 82 days from Shanghai to New York.

“Captain Nat” as he was informally known, was directly involved in the design of the first American Clipper. One story reports he carved the wood hull model of Low’s Clipper HOUQUA while sailing home from China as captain of the ship PAUL JONES in 1843. The Low’s showed their respect by hiring him as their marine advisor, and later by naming this remarkable vessel after him while he was an active ship owner himself. Stobart honors their shared history with this top-quality artwork.

David Thimgan
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McKay's Clipper STAGHOUND Leaving San Francisco

A classic broadside of the first Donald McKay extreme medium clipper launched, STAGHOUND, on her maiden voyage departing San Francisco for China. Her extreme sharp lines and deadrise were offset against a reduced cargo capacity and almost no bilge in a quest for speed- but the clipper performed well enough to start a significant run of building American extreme clippers. Built in New York and sold to Sampson & Tappan, STAGHOUND left on Feb. 1, 1851. She sailed to San Francisco, on to Canton and home to New York. She achieved her entire cost of building and operating for her owners, plus a tidy $80,000 profit in this maiden voyage.

STAGHOUND launched at 215' L x 39'8" B x 21' D from McKay’s own design. The extreme sharpness of her lines, while attractive and unique, didn’t prove to hold the maximum speed he was looking for, but led him to his greatest success with FLYING FISH and WESTWARD HO, also built and owned by Samson & Tappan. It is written that this group is the fastest sailing ship ever built for one owner by a single builder. Thimgan’s beautiful broadside portrayal off San Francisco catches STAGHOUND on the first of her six Cape Horn voyages. From his best period, this is an excellent example of the brilliance of light and motion that Thimgan was able to portray in his finest works.

Samuel Walters
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American Packet CHAMPLAIN

A masterful two-position portrait of the American Sailing Packet CHAMPLAIN, straight from Samuel Walters early, outstanding period of marine art. On an outside approach to Liverpool past Holyhead, Anglesey, the stalwart presence of the Trinity House’s South Stack Lighthouse is in distant view. CHAMPLAIN has her request for a local pilot to guide her safely to a Liverpool berth flying on top of the main mast, and her “C” swallowtail Philadelphia houseflag at the main-top. In the second-position, she is being met by Pilot Schooner 6, IRLAM, built in 1831 by Mottershead, Heyes & Son of Liverpool.

In a lively green sea that has come to be known as a hallmark of the Liverpool School of artists, the American packet ship is portrayed in profile with at least 26 people, crew and passengers, including women wearing bonnets, shown ondeck. Walter’s trademark accuracy faithfully portrays the smallest details, evidenced by the ship’s prominent figurehead of the famous explorer of North America, Samuel de Champlain, in a kilt with a long rifle.

CHAMPLAIN was built in New York in 1834 and registered in her home port of Philadelphia, making several voyages to China by way of Britain and back. Walters painted another view of her in 1836 immediately off Perch Rock Fort and Lighthouse that is in the CIGNA Museum Collection of Philadelphia. This is a superior work of art with great historic content.

Thomas Willis
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The handsome vessel portrayed in this work by Thomas Willis, is the magnificent steam yacht WHITE HEATHER, later known more famously as APACHE. In this view, WHITE HEATHER flies the American ensign and the burgee of the New York Yacht Club, dating this work to around 1901 when she was purchased by Harrison Drummond a well-known member of the NYYC. Drummond’s private signal is likely the swallowtail pennant depicted on the mainmast.

WHITE HEATHER was built by the prestigious firm of John Reid and Company at Glasgow in 1890 for R. Cecil Leigh of the Royal Albert Yacht Club. At 443 tons x 198’L x 28.2’B x 13’D, WHITE HEATHER was one of the largest sailing yachts of her time. She spent much of her career cruising the Mediterranean where she was widely praised for her size and elegance. In 1904 she was purchased by Edmond Randolph of New York who changed her name to APACHE.

As APACHE, she raced in the 1905 Kaiser Cup from New York to England. The winds were not strong enough to support her lofty bark rig and she finished last, several days after the rest of the fleet. She is notable as the first yacht of record to be equipped with a Marconi radio, which is said to have filled an entire stateroom.

The silkwork pictures created by Thomas Willis are highly sought after as unique examples of Americana and are unique due to their specialized Maritime subject matter. This work from the turn of the 20th century is unusually large for the artist and reflective of Willis’ most accomplished period, a time when the artist was receiving commissions from important ship owners throughout the Eastern Seaboard.

Franklyn Bassford
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Yacht MAYFLOWER Defending the Americas Cup SOLD

Early America’s Cup races were historic events of great interest, particularly in the matchup of rivals America and Great Britain for yachting’s most prestigious title. This 6th America’s Cup race pitted American yacht MAYFLOWER of the New York Yacht Club against British yacht GALATEA of the Royal Northern Yacht Club, Rothsay, Isle of Bute, Scotland.

Built in 1886 by George Lawley’s City Point Yard in Boston from the design of Edward Burgess, MAYFLOWER followed their successful syndicate project led by Paine and J. Malcolm Forbes with PURITAN, the defender of the 1885 challenge. They both possessed deeper hulls with lead ballast on the outside, overhanging sterns and modified cutter rigs, greatly changing yacht design to a far more capable boat in all weather. MAYFLOWER was 100' with a 85½’ waterline, 23½’ beam and a 9'9" draft that extended down 20' with the centerboard. GALATEA, designed by John Beaver-Webb and built in 1885 for owner Lt. Willam Henn, R.N., was 102.4’ in length overall, with a 15’ beam and 13.6’ draft.

MAYFLOWER was not successful in her first matches, but after some adaptations, by August she was unbeatable- winning not only the trials and the Cup, but every match she raced the rest of the year.

Demand for works of art depicting this match were extreme with every fine maritime painter of the day taking on the great race. However, it was this painting by Bassford that drew the attention of Currier & Ives who lithographed it into the well-known piece entitled, “Mayflower Saluted by the Fleet: Crossing the Bow of the Galatea in their first race for the America’s Cup over the inside course, New York Bay, Sept. 7th, 1886”.

Clearly, when Currier & Ives saw this painting they recognized Bassford’s artistic skill and attention to detail which can be seen throughout. Spectator vessels surround the two racing yachts- the open decks of two public white excursion boats can be seen fore and aft of the Mayflower, along with three private steam vessels each bearing the NYYC burgee. Further behind the full sails of other yachts can be seen following the race. From lively impressionistic brushwork in the sea to every detail on the ships, every element of this painting expresses the importance and excitement of the race.

James E. Buttersworth
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American Steam Schooner Meets British Frigates Crossing the English Channel

Three ships - an American Three-Masted Steam Schooner, a British Sailing Royal Navy Frigate and a British Sidewheel Steam Naval Frigate - are all challenged by a tempestuous sea in this English Channel crossing scene. The British sailors work in unison to reef and employ sails on both frigates, running with the heavy, wind-driven sea towards Ramsgate, while the fore-and-aft rigged steam schooner burns her boilers while keeping her sails up to help stabilize the pitch and roll of the American ship, headed to continental Europe. Buttersworth has expertly detailed the actions of the men, their ships and the dramatic setting. Many other ships lay at anchorages off the Kent coast, showing from the Cliffs of Dover to the fortifications of Ramsgate.

This early visit by an American sail/steam vessel to England is remarkable. The first such transatlantic voyage happened in 1819, by the historic S.S. SAVANNAH, and it’d take almost 20 years to be repeated. Among the first names of American Steam Schooners to make British ports, ASP, HARRIET, and BRUTUS are among those recorded. MIDAS, a steam schooner owned by Robert Bennett Forbes, was the first American steamship to China, in 1844.

Showing a varied and illuminated sky that is recognized as a signature of Buttersworth’s artistic talent in his paintings, the stormy clouds are split by a sunburst opening, reflective light creating an emotional, positive hope for the subjects. The English Channel is at its narrowest width in this stretch off Kent, home to the Cinque Ports regulating trade and naval protection in the English Southeast for centuries. Buttersworth is soon bound for life in America, making this one of his last, and in our opinion, best British scenes painted in England.

James E. Buttersworth
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PURITAN Races Towards The Narrows Off Brooklyn

A sloop with a plum bow, strongly believed to be famous PURITAN fresh off her successful America’s Cup defense in 1885, races with two schooners off the coast of Brooklyn and Staten Island in New York’s Lower Bay. A full rigged merchant sailing ship heads out under tow from a pilot steam tug, and several other sails fill “The Narrows”, the watery gap between the headlands on the approach to Upper New York Bay and the seaport of Manhattan. James E. Buttersworth earned his reputation as the premier artist of 19th Century American yachting, and while he painted through the Northeast, this is one of his favored locations.

The water of New York Bay is animated with a stiff breeze-driven chop, harmonious to the late afternoon setting sun, while seabirds stay just above the surface. While the light is still strong, the racers are headed to their home berths. PURITAN, owned and raced by John Malcom Forbes, was built in the New York Yard of George Lawley & Son in 1885. She triumphed in the defense of the America’s Cup in 1885 against the English challenge of Sir Richard Sutton and his Cutter GENESTA. PURITAN, with her compromise cutter hull / sloop rig, was one of the very first of her style built in America. She’d be the primary influence for MAYFLOWER which would win the Cup Defense the following year.

The New York headlands appear just distant enough to show little but their green foliage, and the sky varies to a sunny brilliance toward heavy clouds. The white hulled yacht was one of the very first so styled, after having her hull painted black for her Cup match. Soon, all others would follow suit.

William Carr
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Celebrating the victory of J. Gordon Bennett's HENRIETTA in the prestigious and important 1866 transatlantic schooner challenge, a professional British yachting crew led by two officers and two female companions wave encouragingly to the departing racers. Members of the New York Yacht Club advanced the prestige and stakes of yacht racing with this epic event, each wagering $30,000 on the winner-take-all affair. Captured in the newspapers, barroom tales, and numerous visual works of art, the public’s imagination and interest was widespread and passionate. This fine period folk art painting of the legendary race from New York to England is by the American artist William Carr. Carr inscribes the work verso with its title, date, and his Jacksonville, Illinois hometown.

Identification of the racing schooners is assisted by the special colored flags worn by the yachts. Foremost in the painting, wearing the blue identifier atop her mast is HENRIETTA, owned by renown newspaper publisher and infamous yachtsman James Gordon Bennett, Jr. Following closely is VESTA, owned by tobacco baron and racehorse afficionado Pierre Lorillard, who initiated the competition with a dinner party boast over turtle soup that his 105-foot schooner was the fastest yacht afloat. In the third position is New York Yacht Club members George and Franklin Osgood's famous FLEETWING. Each wagered to be victorious in the head-to-head-to-head match race across the Atlantic Ocean. Bennett's HENRIETTA was the first to the finish off the Isle of Wight with a time of 13 days, 21 hours and 45 minutes winning the then-unrivaled and unheard of purse for any race of $90,000. This equates roughly to a value of $9 to $15 million in today’s markets!

The folk art styling of William Carr’s painting is an added bonus in this period view of the historic race. The schooners are cresting, hard driven and harmoniously composed in their interaction with the wind. A late winter squall - the race began on Dec. 11 and finished on Christmas Day- shows with the streaking downpour coming through the heavy clouds. The race was so widely celebrated that numerous artists painted its moments, and the prestigious lithography firm of Currier & Ives made multiple scenes of this race, mostly from the originals of James E. Buttersworth. Carr locates the three schooners and the red-uniformed longboat crew in the southern reaches of Long Island Sound Inlet, and has the pair of British officers attired in their formal blue outfits saluting the competitors as they finish their challenging Atlantic Ocean crossing at the south of England and the annuals of yacht racing immortality.

Frederick S. Cozzens
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Match Race Challenge, RAMBLER vs MADELINE, 1872

Extreme speed on display, with two of the premier big racing schooners of the 19th Century American East, Commodore W.H. Thomas’s RAMBLER leading Jacob B. Voorhies’ MADELEINE in a head-to-head match on Sept. 19, 1872. The two classic schooners set out from Brenton Reef Lightship, voyaged round Sandy Hook Lightship and return to the Newport, Rhode Island coast. The match was won by RAMBLER almost four hours ahead of MADELEINE at the finish 43 hours, 25 minutes, 32 seconds later.

A rare painting of the earliest days of yacht racing, this is more so since it is the earliest identified and extremely rare oil painting by the noted watercolor artist and illustrator Cozzens. The sharp parallel lines and racing trim of both yachts is in keeping with the early works of his noted peer Antonio Jacobsen, both artists building upon the foundation of great American yachting works by James E. Buttersworth.

Dated 1872, the schooners achieved fame over a span of years. MADELEINE launched as a sloop in 1868, built by David Kirby of Rye, New York. She would be altered to a schooner in 1870, and modified in 1871, 1873 and 1875 until she earned the reputation as the fastest American yacht in 1876 and successfully defended the America’ Cup from Lord Dunraven’s challenger, COUNTESS OF DUFFERIN. RAMBLER was part of the fleet defense of the Auld Mug in 1870, and soundly beat MADELEINE twice in 1872. Thomas sold the yacht in the late 1880s and she was used to sail 60 tons of dynamite under the command of Captain John “Dynamite” O’Brien to Panama in 1888. Leisure, speed and glory would be both of theirs.

Frederick S. Cozzens
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Reaching After the Cup

Beautifully composed, this exhibition of premier yacht racing features an 1895 period view of the America’s Cup battle between the New York Yacht Club’s DEFENDER and Lord Dunraven’s VALKYRIE III, representing the Royal Yacht Squadron. The DEFENDER’s crew, captained by Hank Haff on behalf of managing owner C. Oliver Iselin for J. Pierpont Morgan and William K. Vanderbilt, is hard at work changing the jib sails. Against the popular consensus of employing Scandinavian professionals to crew, Haff chose his from the ranks of Maine’s fishing fleets.

A rare painting of a Cup race, Cozzens’ number one subject, which redefined several aspects of head-to-head yacht racing, including the rules pertaining to length of waterline and ballast, the third and final match is shown. DEFENDER had already won the first, and was fouled at the start of the second match and was awarded that day’s victory. The third match, on September 12, was heavily attended, but the massive spectator fleet was kept further back, as Dunraven had squarely blamed the big New York Steamer YORKTOWN of undue interference for the earlier mishap, despite photographic evidence squarely putting the blame on the VALKYRIE’s maneuver. At the start, Dunraven had his yacht throw a tow rope to his tug, and pulled away from the course, never to race again.

Dated 1895, Cozzens was undoubtedly present, and witnessed the glory of Nathaniel Herrshoff’s beautiful keel design, with her steel frame and brass and bronze connected aluminum features covered with white pine and mahogany. Unfortunately, due to the aluminum swelling, she lasted but five years, but she absolutely served the purpose for which she was built, defending the Cup.

Montague Dawson
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In a Calm YEOMAN and LALAGE Off the Isle of Wight SOLD

The incomparable Montague Dawson shows spectators aboard a green-hulled cruising ketch watching the two six metre racing yachts YEOMAN and LALAGE in what is likely a practice race prior to the 1948 Olympics at Torbay (Torquay). The scene is off the Isle of Wight, headquarters of the Royal Yacht Squadron, which lies about 150 miles east of Torbay at the same latitude.

The sea is glassy in the light winds, and all three of the sailing craft are on starboard tack with their spinnakers set. The cruising ketch wears tanbark sails on her main and mizzen masts, adding a colorful element to both the scene and the composition. The two yachts of the title, YEOMAN and LALAGE, are shown to the right in the mid distance. The dark hulled YEOMAN leads LALAGE in the shifty wind conditions.

KA 1 Yeoman (ex K 4 Esme) was a 1937 Camper & Nicholson and the first six-metre design from the legendary Charles A. Nicholson. Not much is known of LALAGE except that both vessels participated in the six-metre event in the 1948 Summer Olympics program.

The International Six Metre class is a class of classic racing yachts. Sixes are a construction class, meaning that the boats are not identical but are all designed to meet specific measurement formula, in this case International rule. "Six metre" in class name does not, somewhat confusingly, refer to length of the boat, but of the formula; 6mR boats are, on average, 10–11 metres long. In their heyday in the 1920’s and 30’s, Sixes were the most important international yacht racing class, and they are still actively raced around the world.

This painting resided for several years in the collection of George Nicholson, the second son of Charles A. Nicholson (who designed YEOMAN), and who was a director of the international yacht brokerage Camper & Nicholson between 1961 and 1969. A world class yachtsman himself, George Nicholson would have recognized and had great appreciation for Dawson’s technical accuracy and astute familiarity with the marine genre in selecting this composition for his important and greatly admired collection.

Montague Dawson
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The extreme clipper Blue Jacket of 1790 tons launched in 1854, plying the Liverpool and Australia trades for the White Star Line and later the Fox Line of Australian Packets. Unusually elegant in her design and interiors, she caught the attention of U.S. Nautical Magazine who described her lush cabins, parlors and saloon as a “miniature palace.”

Designed by Donald McKay and built by Seccomb & Taylor of Boston, BLUE JACKET was white oak, with planking and ceilings of white pine, diagonally braced with iron and square fastened throughout. She sat at 235’ LOA, 41.5’ at the beam, with a 24’ draft. Her name came from the slang for both British and American sailors, and their uniforms which included dark blue jackets.

BLUE JACKET is described as having an appearance of “strength and power” typical of McKay’s ships, which is surely what must have drawn Montague Dawson to depict her in his own characteristic style. With her port side digging into the churning waves, Blue Jacket is bent over and pushed hard with the wind in her sails- decks awash revealing water coming from the port scuppers. With the wind off her stern she is no doubt making good time in this following sea. Portraits like this, of hard driving ships in active seas made Dawson famous. Yet in this work he shows more than usual skill in the sky with fine work in the clouds and excellent tonality and light.

Until her untimely demise due to fire off the Falkland Islands in 1869, Blue Jacket sailed across the globe from Boston, San Francisco and Honolulu in the US, to Liverpool and London, then south to Melbourne and New Zealand and up to Madras, India. Her distinctive figurehead of a man from the waist up in a naval blue jacket with yellow buttons was later found over two years later off the coast of Western Australia. It’s calculated that the figure drifted over 6000 miles after being separated from the ship.

Charles S. Raleigh
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The strength of a great ship portrait lies with its overall striking composition blended with an attention to detail. Charles Sidney Raleigh was extremely skilled with both elements, and this is one of his finest works. An American full-rigged ship of large proportions, LUCY G. DOW is one of many ships owned by Maine interests, where the ship would be locally built and consortium owned. More Maine captains owned part of their ships than any other East Coast region, it appears through an informal survey of lists.

Note the fine details of the captain and crew hard at work onboard off the coast. The numerous buildings are clustered on the peninsular stretch with a pier coming out near the lighthouse’s walkway. At the distance, ship masts rise from a prominent harbor. All are shown with Raleigh’s folk art styling and perspective, much emulating maritime master James Bard.

The Dow family has extensive roots through Massachusetts, Maine and British Columbia, Canada with many sailing vessels to their credit as builders and owners. Boston, Southport, Portland and Oromocto all were shipbuilding yard locations for members of the family. One descendant, with access to the various worldly cargoes, would go on to establish Dow Chemical Company, and continue the family’s name recognition through the 21st Century. Several family members were named Lucy over the years, and one of them in specific would have been as proud as the more than a dozen other family members with ships named after them.

Robert Salmon
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Moonlight Scene on the Quay, Ramsgate SOLD

This lively scene along the quay in Ramsgate Harbour, Kent, England shows that even at night this working port was filled with activity. Salmon’s trademark luminism is on display here, with warm moonlight illuminating layers of clouds and the over 75 figures and 14 ships below, including two full rigged ships.

Two historic sea walls encircle Ramsgate Harbour today, almost meeting in the center, though this part of the harbor was still under construction when this was painted in 1846. Ramsgate Harbour is unique in Great Britain, as the only harbor allowed to call itself a Royal Harbour; given that distinction by King George IV because of the great hospitality shown him and the Royal Yacht Squadron when using the harbor in 1821.

On the right, Ramsgate Light is lit to warn sailors off the low tide which has already caught two vessels, now tilting perilously and resting on their keels. On the quay fishermen inspect the catch while others haul in a net. A guardsman stands at attention near his small guardhouse, likely looking at the figure of a gentleman gesturing to two young sailors in naval uniforms, perhaps tempting them to mischief. Like so many of Salmon’s best works this painting is filled with these small vignettes, slices of portside and seafaring life.

Not much is known about the end of Robert Salmon’s life including the date of his death though it is estimated that he passed in the late 1840’s, making this one of his last works. Moonlight scenes such as this one were favorite subjects in Salmon’s late period, and this showcases his mature skill in depicting light and fine detail throughout.

Salmon used alternate spellings of his last name, and the version verso here, “Soloman” was a known variant used to sign paintings.

James Gale Tyler
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Abandoning the Arctic Exploration Ship JEANETTE SOLD

A 19th Century tale of survival and tragedy, the artistic skill of James Gale Tyler’s narrative painting tells part of the story of thirty naval officers and enlisted men, along with three civilians in the midst of an Arctic adventure on an attempt to reach the North Pole. This painting, with its exceptional coloration, reflective qualities, and textured details ranks amongst Tyler’s very best work. The striking depiction still radiates the almost-ever present Arctic summer sunlight, casting hope over the adventure.

A time-line of the expedition illustrates the enormity of the challenge the men faced. Publisher James Gordon Bennett, Jr. purchased the ship, previously the H.M.S. PANDORA, and allied with the U.S. Government to fund the expedition. The JEANETTE left San Francisco on July 8, 1879 and was held fast in ice east of Wrangell Island by September. The ship drifted northwest in the ice for the rest of 1879, all of 1880 and landed at an island they named Henrietta Island, in honor of Bennett, on May 9, 1881. This was more than 600 miles from where they first became stuck. While trapped, the men led by Lieut. Commander George W. DeLong, Assistant Surgeon James Ambler, Lieut. Charles Chipp and Chief Engineer George W. Melville battled hunger and fierce atmospheric conditions, all while conducting their scientific assignments, hunting, and maintaining their ship.

In June 1881 the ice began to part, and hope surfaced that they might steam clear, but on June 12th the flows closed in with force and crushed the JEANETTE, sinking her in less than one day. Shown here, the men pulled their meager supplies and three boats off the ship and prepared to make a 700-mile trek toward open water on the north Siberian Coast near the Lena River Delta. After almost three months, they reached the ocean and set out in the boats. Separated soon after by a storm, Chipp’s boat was lost, DeLong’s went off course and only one boat led by Melville found safety with local inhabitants. Two of DeLong’s group, Seamen Noros and Nindemann, managed to survive by setting out to find help for them all. Melville later returned to the Siberian Arctic to search for his lost captain, and found their last camp and the written journals DeLong had kept the entire trip, along with many sketches.

Right up until the end, DeLong kept an exacting log of the voyage, and this record lives on as a book to tell the full story, edited by his wife, Emma, and published in 1883. The moment portrayed by the artist Tyler is one of hope and determination, an artistic homage to the spirit of all the men, taken directly from a drawing in DeLong’s published book, from the last day of the Ship JEANETTE.

Anonymous Artist
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American Ship CORRA LINN in Two Positions

Painted for a very prominent American ship-owning family of the 19th Century, this two-position portrait of the American Packet CORRA LINN was a direct commission in 1850. With its expressive calligraphic legend announcing its New York-to-Glasgow route, her Master, Capt. Lambert, and smaller, painted text centered in the lower right image border, “Dunham & Dimon, Owners, 1850”. The painting was owned by Thomas Dunham, of Marta’s Vineyard and Brooklyn. As a principle partner with Frederick Dimon, he hired his nephew, Thomas Dunham Fish, who became the company’s owner in 1868. Fish had kept extensive diaries of his days in New York, working for his uncle in 1860-61 at their South Street business locations. These diaries are part of the Woods Hole Historical Museum near Quissett, Massachusetts, where the family settled, while the business records are part of the Mystic Seaport Manuscript Collection. His diary recounts his visiting CORRA LINN at the docks.

A detailed examination confirms two views of the full hulled Merchant Packet Ship, its vertical striped blue and white house-flag on top the main mast, a Scottish Cutter Pilot leading the ship to port. The location is on approach to Glasgow in the eastern Irish Sea. We know this for sure, because the artist painted the words at the base of the landmark, “Island of Aisle”, which today is known as Scotland’s Aisla Craig. Artistic flourishes, such as the rippled American Flag, the full, white sails, the rhythmic sea, and the strong green lifeboats all add to the painting’s historic content.

While Thomas’s nephew inherited the business, his adopted ward, Stephen W. Carey had started his own shipping business with Captain Lambert and the Yale Family. He inherited control of the family estate, and combined with numerous relatives, made notable contributions throughout Cape Cod and Martha’s Vineyard, especially to the community of Quissett. The Carey’s remained a strong presence in Quissett, with Stephen’s granddaughter Cordelia running the famed Harbor House as a hotel for many years until her passing in the 1975. This ship portrait of one of the founder’s first vessels, is a historic remembrance of their success.

James Bard
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A striking portrait of a very large American sidewheel paddle steamer on her maiden voyage from New York to Mobile, Alabama, and on from there to Havana, Cuba. The BLACK WARRIOR began the voyage in her home port of New York City. Bard has undoubtedly painted her in concert with either her listed builder, William Collyer of New York, whose name is included by the artist on the canvas, or the owners, Livingston, Crocheron & Co. Launched in 1852, the line soon moved its southern base to New Orleans, establishing a foothold in a region soon in direct competition with the Vanderbilt and Morgan families.

Her deep luster coloration is expertly portrayed by Bard. He has used draftmanship in composing the full outline of the steam/sail transition vessel, and then worked in painstaking detail to apply every touch of oil, down to the pointillist-style of the water’s wake against the hull and the top of the ocean swells. The brooding sky colors compliment the impressive heavy sense of the 1556-ton steam/sail paddlewheeler, with the flags brightly displayed before the clouded sky. Several gentlemen sailors are visible on deck, attending to the coastwise Atlantic journey. With the placement of the American Government’s streaming pennant at the main mast top, undoubtably this included mail to the South, and possibly return news of the recent Gold Boom in California. She would stay on this route until a snow squall off Rockaway, Long Island put her aground on Feb. 20, 1859.

Arthur Beaumont
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Aircraft Carrier USS ENTERPRISE

During Arthur Edwaine Beaumont’s forty year tenure as the Navy’s official war artist, he painted America’s great battle fleets from WWII through Vietnam. Beaumont is known for his loose yet highly accurate portrayals and his signature style is evident in “Aircraft Carrier USS ENTERPRISE,” painted in 1944.

The USS Enterprise (CV-6), which was sometimes known as “Big E,” was a Yorktown-class aircraft carrier that was active from 1936 to 1947. The Enterprise was awarded 20 battle stars, making it the most decorated ship of WWII. Nicknamed the Grey Ghost, the Japanese announced that she was sunk three different times. Enterprise participated in more action with Japan than any other United States ship and was one of only three carriers commissioned by the US before WWII that survived the war.

Enterprise was first based in San Diego, and classic movie fans may recognize her from “Dive Bomber” a 1941 film that starred Errol Flynn and Fred MacMurray. Later, President Roosevelt ordered her to move to Pearl Harbor and the carrier transported aircraft among the island bases of the Pacific. Enterprise was at sea on its way back to Hawaii after completing one of these missions when it received a radio message from Pearl Harbor reporting that the base was under attack. On that fateful day on December 7th, 1941, Grunman F4F Wildcat fighters screened the Enterprise so that she could enter Pearl Harbor for fuel and supplies. The next morning she sailed early to patrol for other threats against the island. A few days later, she sank Japanese submarine 1-70.

The Enterprise saw a lot of action besides Pearl Harbor and also participated in the Battle of Midway, the Battle of the Eastern Solomons, the Battle of the Santa Cruz Islands, the Battle of the Philippine Sea, and the Battle of Leyte Gulf among others. The Enterprise was one of fourteen ships equipped with the early RCA CXAM-1 Radar, which certainly contributed to her success. However, she also endured battle scars. For example, a Japanese bomb exploded on the flight deck of Enterprise, a Grumman F6F Helicat crash landed on her deck, and later a kamikaze pilot brought further destruction.

The carrier was fully repaired and prepared to return to battle with all planes aboard when the atomic bomb fell on Nagasaki and ended WWII on August 9, 1945. Afterward, Enterprise continued to serve her country, and traveled to Pearl Harbor to pick up over 1,000 servicemen including hospital patients and former POWs in order to bring them to New York via the Panama Canal. Later she completed three voyages to Europe and brought more than 10,000 war veterans home.

In this painting, Beaumont expressively captures an active sea and the war-time activity that surrounds the USS Enterprise. A squadron of fighters head out on a mission and Beaumont effectively captures the speed at which they soar after taking off from the deck. Although other ships are in the distance, there doesn’t appear to be an active combat situation in view although the dark clouds above lend to a foreboding atmosphere. The colors used in the sea and signal flags are eye catching. The striking composition of this naval narrative, created by one of the most noted American naval artists, would make a great addition to the collection of any history buff.

Thomas Buttersworth
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The British Victory of Trafalgar Against the French and Spanish SOLD

The Battle of Trafalgar, fought October 5, 1805, is perhaps the best known naval battle of all time. As a result of the victory, Britain held an almost unchallenged domination of the seas for a decade, and most of the next century. Artist Thomas Buttersworth served faithfully in the British Navy, and early in his new career painted spectacular scenes of naval battles, none more famous. This superb pair of miniatures is a prime example.

Off Cadiz, the British Royal Navy Fleet led by Admiral Viscount Lord Nelson and Vice Admiral Collingwood at last sighted the combined French and Spanish Fleets of Admiral Villeneuve, Admiral d’Avila, and Admiral Cisternes, and sought to deny Napoleon’s naval empire. In dramatic action, a First Rate British Warship drives between two of the largest opponents, cannons firing broadsides. It is believed to be Collingwood’s Flagship ROYAL SOVEREIGN, heavily damaging and eventually capturing the Spanish Flagship SANTA ANA. Two more captured Spanish Ships are in the second work, the British Union Jack on the flag hoist over the red-and-gold ensigns. Thirty-two British ships fought 23 French and 15 Spanish warships at Trafalgar, and while the British lost 1,587 fighting men, the French and Spanish losses are estimated closer to 16,000.

As a result of his deep involvement in this combat, Nelson is both commemorated and mourned. Although victorious over the combined French and Spanish fleets, the brilliant and innovative tactician was mortally wounded during the battle, victim of a French sharpshooter. His loss was noted and felt throughout the British Empire. This expertly detailed small pair of paintings by Buttersworth successfully renders this important landmark battle closing Napoleon’s ambition to attack Britain.

Thomas Chambers
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During the war of 1812 when the young American Navy sailed forth to oppose the powerful British Royal Navy few could have guessed the unprecedented string of victories the Americans would achieve. One of the greatest engagements was fought on October 25, 1812 between the American 44 gun frigate U.S.S. UNITED STATES and Britain's 49 gun frigate H.M.S. MACEDONIAN.

Under the command of the hero of Tripoli, Stephen Decatur, the outgunned UNITED STATES returned the opening salvos from the highly favored MACEDONIAN with devastating accuracy and effect. Within 90 minutes the British vessel had received over 100 cannon shot in her hull and was completely dismasted and unable to maneuver. It became known as one of the most humiliating defeats in the history of the Royal Navy.

Thomas Chambers has captured here the staggering victory with the virtually untouched UNITED STATES pouring yet another devastating broadside into the hull of MACEDONIAN. The figure of young Stephen Decatur may be seen directing fire from the quarter deck, while his counterpart, British captain John Carden surveys the damage on his once proud vessel.

Chinese School
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Ship FRANK CARVILL off Hong Kong

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.

William A. Coulter
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Passing Through the Golden Gate

The marine paintings of W.A. Coulter provide historic glimpses at the working environments and ships that visited the West Coast in the Late 19th & Early 20th Century. In this luminous and open work, Coulter has a large sailing ship arriving into San Francisco harbor, passing through the “Golden Gate”– the strait defined by the headlands of the San Francisco Peninsula and the Marin Peninsula which would later hold the Golden Gate Bridge.

On the left are the red masonry walls of Fort Point. This important strategic site was first fortified by the Spanish in the late 1700’s. Passing into Mexican rule it finally came under U.S. military control in the mid-1850’s just prior to California annexation and statehood. On the right sits the white buildings of Lime Point Lighthouse as it looked around the turn of the century- the fog signal building sitting furthest left topped by the twin stacks of its steam fog whistles.

Painting this busy shipping lane was a Coulter favorite, and this composition bears a strong resemblance to one of his works which inspired a 1923 US Postage stamp. As in the stamp, the focus is on a square rigged ship sailing into the bay on a strong wind. A local fishing smack with billowing sails moves quickly across the bay, heading home with catch aboard pursued by seagulls hoping for a morsel. Two men in a small dinghy strain at their oars to navigate the strong swell coming in from the sea. All of these ships were common sights in the early years of the 20th century, though the age of steam and her ships would soon overtake the waters.

As the sun sets, an unusually warm glow permeates the horizon, lighting up waters more often famously shrouded in fog and mist revealing a wealth of color and reflections. Coulter’s lively brushwork brings impressionistic touches, particularly in the sea and finely rendered clouds. His passion for the sea and his beloved San Francisco shines in this historic glimpse into the vanishing age of sail.

Julian O. Davidson
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USS Constitution in Action Against HMS Guerriere SOLD

A naval battle scene from the War of 1812, this work by Julian O. Davidson captures a dramatic turning point for the American Navy, the first significant defeat of a British Sailing Warship by a Naval Frigate. No less a vessel than U.S.S. CONSTITUTION is firing a broadside on approach at the distressed H.M.S. GUERRIERE, after her mizzen mast has toppled, limiting her maneuvering for position. The scene glows with action and the harsh reality of nautical combat.

Breaking the British dominance of naval warfare, the ship commanded by Captain Isaac Hull, met H.M.S. GUERRIERE under the command of Captain James Dacres on August 17, 1812 after the British officer issued a direct challenge. Dacres was so confident that he promised his crew 4 months pay for a 15-minute victory, but things didn’t go as he planned. Approximately 45 minutes of sailing for dominant positioning with some long-range volleys, and the ships closed to rake each other with cannon broadsides. While the British mizzen mast was splintered, some shots actually bounced off the sides of the American oak ship, birthing her now famous ‘Old Ironsides’ nickname.

This captured moment, of CONSTITUTION coming around with another broadside is the decisive moment of battle, her guns barraging the British who try to respond. On the next approach, GUERRIERE was surrendered. Davidson does a proper homage to the victory and devastation, with cannons flaring and the red glow reflecting in the smoke, men high in the rigging and low in the sea. The artistic effort by Davidson invokes the tragic wonder and awe that a marine artist seeks from his audience, even with the outcome apparent.

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

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.

Tomaso De Simone
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British Schooner Anchored at Naples

A classic scene of a large mid-Nineteenth Century schooner at rest in the Mediterranean port painted by the Italian countryman Tomaso De Simone. The complete narrative scene around the schooner’s broadside is complemented with a British merchant steam/sail ship, local boats and the colorful sky and headland architecture of the ancient city.

The vast serenity and unspoiled life of cruising the Mediterranean Ocean is a must for pleasure yachting. No less so 150 years ago, when the British schooners of several yacht clubs are reported to have staged a long-distance race for the 1864 season. It is believed that the club burgee flying on this yacht is of the Royal Western Yacht Club, based at Queen Anne’s Battery in Portsmouth, established in 1833. At home, the schooner VINDEX earned the record as top racer, with MADCAP as the second-best yacht for a season full of events.

Atmospherically, this work is a joy, with its full headland displaying the classic buildings of the Italian port. While the American Civil War raged and the English professed neutrality, their economic and nationalistic interests lay intertwined with the Confederate South, and its cotton exports and shipping needs. While on pleasure cruises and private challenge runs, the British undoubtedly kept an eye open for the unfolding events of the American War Between the States, played out on the World’s waters.

Gordon Hope Grant
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A dynamic painted view of a conflict at sea between America and Great Britain over national rights and Imperial ambitions, the first frigate of the United States, aptly named UNITED STATES, de-masts the British MACEDONIAN on the way to capturing the valuable ship as a war prize on Oct. 25, 1812. Grant has imbued the scene with the dramatic impact and an aesthetically strong interpretation of the important naval battle, nailing the historic fact of the U.S. Frigate’s complete defeat of King George III’s Ship off the coast of Africa.

Slightly more than two months after the U.S.S. CONSTITUTION won the first naval engagement of the war, the frigate UNITED STATES of 44-guns fell in with H.M.S. MACEDONIAN of 38-guns. The British captain, John Carden, had been Captain Stephen Decatur’s dinner guest in January, and had jokingly bet a “beaver hat” on an outcome between their ships. Little did either know that nine months later Decatur would command his 24-pounders to fire on his friend. American marksmanship and range proved superior, and UNITED STATES would strike, bear-away slightly, reload, and strike again. In a two-hour engagement, MACEDONIAN’s masts were shot down and topped off. It is recorded that more than 100 rounds hit the Brits ‘between wind and wave’.

The two ships would take five-weeks to sail to New York, where MACEDONIAN would be purchased by the American government and become an fighting navy asset for years. Her Alexander the Great figurehead and four 18-pounders are still on display at Annapolis. Grant has put together a powerful rendering of the conflict in an impressionistic, fluid portrayal.

Antonio Jacobsen
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British Barque EAST AFRICAN

One of three late 19th-Century steel-hulled barques built directly for the shipping company of Lang & Fulton of Greenock, Scotland, the EAST AFRICAN was a familiar sight in both Liverpool and Melbourne, alongside her near-identical older sister, EAST INDIAN, and their larger, younger brother ship, AUSTRALIAN.

The 252'5" L x 39'B x 22'5"D vessel was built in 1895 by the Robert Duncan & Co. Shipyard of Liverpool. Duncan is renown as one of the premier engineers of his time, and had already made several innovations in locomotive and agricultural mechanization before acquiring his marine boiler shop in 1880, and by 1882 his ship-building firm employed more than 450 men. Jacobsen has portrayed the ship in her early beauty, white-hulled with a peek of Greenock Red of her lower hull in view, matching the waterline. She is full-sailed, with six courses on the fore-and -main, rigged expertly.

The Liverpool-to-Australia Trade route was one of the last hurrahs for the sailing trades, carrying British goods and passengers and bringing back primarily loads of wool, along with items from countries throughout the Orient. Many ships were manned by crews less numerous than had plied the seas on the Clipper trade routes. A knowledge of mechanics became standard fare alongside seamanship and navigation. EAST AFRICAN was built to carry a large cargo, yet made remarkably competent sailing times year in and out. EAST AFRICAN would continue on service, selling to Norwegian interests in 1911, still afloat when the World War I broke out.

Otto Muhlenfeld
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Great Lakes Tugboat CALUMET

An artist who knew the vessels he painted firsthand, Baltimore artist Otto Muhlenfeld has captured the Great Lakes Steam Tug CALUMET in a colorful, working profile. Her American Ensign outreaches her name pennant, and a gilded pilot house eagle sits atop the unusual 360-cabin structure of her bridge. Her black funnel reaches skyward, through an atmosphere and a sea that have characteristics of folk art, always desirable in early American original artworks.

Launched in 1892 out of Milwaukee, CALUMET carries the name of the Chicago River off Lake Erie, and served primarily along the entirety of the Erie Canal route, from the lakes to Buffalo and on down the Hudson to Albany, making all points of the Atlantic Ocean possible. Later in 1913 an entire class of tugboats would carry her name and a similar design, and prove popular enough for a Calumet Shipyard to specialize in their construction.

Shown early in her career, CALUMET is painted in deep tones, and the 62.55 gross ton vessel was a capable worker, assisting vessels of all sorts. Muhlenfeld painted a series of portraits, many of them tugs, in this era, directly commissioned to portray the ships. The artist employs a level of drafting skills in the depiction of the ship’s line and detail.

Nicolas Pocock
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Man-Of-War at a Coastal Anchorage SOLD

A stalwart ship of the British Royal Navy, a Third Rate Warship with a steeped fighting beak platform and approximately 74 guns sits at anchor within a river estuary, waiting for either orders or opportunity to serve the Crown. The War with the American Colonies had ended four years earlier, and the U.S. was just signing the Constitution the year this work was painted. The artist Pocock himself served aboard a similar ship during some of his Royal Navy career, and may well have known this specific ship depicted. The scene is far more than a simple ship portrait, with a complete composition of small boat activity, men on the headland shore and a beautiful yet subtle atmosphere and waterway.

Works available by Pocock, and for that matter any of the First and Second generations of British Marine painters are extremely rare in public markets, and have been steadily gaining appreciation as fine art works and investments for years. The strength of this single painting, with its detail and excellent overall composition makes it apparent why such works have earned an improved standing within art collectors of all fields. This is one to possess, treasure and enjoy, as the people of Pocock’s time would have certainly done as well.

John Scott
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American Sidewheeler GEORGE PEABODY Off Tynemouth

Caught in an active broadside portrait, artist John Scott of Newcastle presents the American Sidewheel Steamship GEORGE PEABODY off Tynemouth along the Northeast English coast. The English Channel waterway is active with other vessels and a wind-driven sea, with several large square-riggers making use of the prevailing breeze. Several men are shown on deck, while the Tynemouth Castle and Priory are in view north of the harbor on the elevation of Pen Bal Crag, the burial site of three British kings.

The sidewheeler, named after the prominent 1795 Massachusetts-born entrepreneur who founded the Peabody Trust in Britain and is the acknowledged father of charitable philanthropy, was built in Baltimore, Maryland. It sold to the United States Quartermaster Maritime Division in 1861, and was in use for the North during the American Civil War. Used as a troop transport for the Burnside Expedition in 1862, and present at the bombardment of Forts Hatteras & Clark, the GEORGE PEABODY also was involved in an unfortunate collision with the Steamer WEST POINT at Ragged Point, Maryland on August 12, 1862. She went back into merchant service after the war. Here she is shown steaming in the English Channel the same year South Danvers was renamed Peabody after its favorite son, who retired from business in 1864.

Folk-art qualities are present in the painting, with sharp lines and the artistic sensation of distance related by having the closer objects in deeper tones and tighter detail, and the further away, the lighter and more ethereal the subject’s become. An accurate period view of a historic American vessel and tribute to an American icon.

Joseph B. Smith
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This is an extremely well done narrative ship portrait by one of the more elusive American marine painters, Joseph B. Smith. The schooner AURELIA P. HOWE, named after the daughter of a Manhattan business family, launched in 1845 out of Baltimore, Maryland and worked in the Chesapeake and Atlantic coastwise trade. Shown in her early glory, the schooner would be part of a legal battle in 1858, disappearing from the news to surface for Civil War charter service.

The painting is a well performed composition, with the primary subject crisply detailed and proudly showing her tell-tale flags, the artistic hand of Smith clearly evident. The charm of the setting, we believe off the New York coast, includes a top-sail schooner, other fore-and-aft rigs, a white-hulled, walking-beam sidewheel steamer, and two very animated men making the most of the day fishing, a touch which is a very unusual addition to a ship portrait. The schooner’s crew is on deck, and there’s a nice sense of motion to the ship in the water. Another near identical Smith painting of the schooner is known, closer to a shore without most of the supporting cast. Our painting has a New York artist supply label verso from 1835-1865.

The schooner would be in a New York Times brief in 1858, when Andrew F. Higgins acquires partial title to it in settlement of an account of Master William Tilby. Later, in 1863, soldiers of Company C, the Fifty-First Volunteer Regiment of Massachusetts would use it for transport out of Baltimore during the Civil War, recording their voyages in several published letters. Miss Aurelia Perry Howe married mariner Moses Kelley Glines, and their son George would be born in Baltimore in 1849, quite possibly while his parents or grandparents owned the merchant schooner.

Alexander Charles Stuart
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Full Rigged Ship GATHERER

A stalwart American ship clearing the Delaware headed for Honolulu with a load of coal, this broadside ship portrait by Alexander Charles Stuart is of the Ship GATHERER. In her maiden year of service, the Bath, Maine-built Downeaster went to New Orleans with hay, took a load of cotton from there to Liverpool, and crossed to collect the coal in Philadelphia before heading to Hawaii. She’d make 8 Cape Horn voyages, averaging about 129 days, a profitable and fast sailing Downeaster, and yet still record one of the bloodiest voyages in merchant maritime history.

In this portrait, A.C. Stuart shows the large wooden vessel as built by Albert Hathorn, a 1,509 ton Downeaster especially constructed for the Cape Horn Trade. Measuring 208’1” x 40’2” x 24’3”, she’d sell to Jacob Jensen at San Francisco in 1888, serve 17 years on the Pacific rigged as a bark, and then transfer to New York interests to carry lumber from Puget Sound to New York in 1905, and become a towed barge, eventually lost off the coast of Virginia in 1909 with 2,400 tons of coal.

While her first captains, Joseph and George Thompson, earned GATHERER a good reputation as a fast sailer especially for such a large square-rigger, reaching 15½ knots and 350 miles a day from Honolulu back to the Columbia River in 1874, a voyage from Antwerp to Wilmington, California in 1881 would darken her name. Under Captain John Sparks and Chief Mate Charlie Watts the ship earned an unsavory reputation of “Hell Ship” and whispered title of “The Bloody Gatherer”, and eventually Watts six years in Folsom Prison for cruelty on the high seas. While the dark names stuck, she proved to be far more of a success than this one tragic voyage. Stuart has captured her early glory.

David Thimgan
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British 12-Metre Yacht SCEPTRE in a Match Race

A dynamic action painting, this portrait of British 12-Meter Racing Yacht SCEPTRE in pursuit is a striking view of a beloved vessel. SCEPTRE, built for a consortium in Alexander Robertson’s yard in Holy Loch, Argyll, Scotland, was partially inspired by British success at the 1956 Olympic Games in Melbourne. SCEPTRE, with sailing designation K17, would soon became the first racing yacht to challenge for the America’s Cup since 1937.

Crisp lines and coloration abound in this scene, an 1981 dated work by Thimgan already possessing his great attention to detail and superior composition. Raked with speed and showing the crew working onboard, SCEPTRE has her competitor in sight and closing. Her first race was in a trial against EVAINE nine days after her April 2, 1958 launching, and by summer she was headed to Newport, Rhode Island to compete against American defender COLUMBIA of the New York Yacht Club. In defeat, SCEPTRE’s decent showing and enthusiasm help rekindle worldwide interest in International Yacht racing.

The racing yacht would go on to be owned in the 1960s by Eric Maxwell, who sold her in 1971 to Edward King, and then she was acquired by Tony Walker of Lytham, who restored the 12-metre yacht over years to perfection. Once undertaken, Walker helped found the Sceptre Preservation Society in 1986, who still own and operate the yacht today. This excellent painting serves as a elegant memento to the history of 12-metre international yacht racing.

John Tudgay
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Clipper EMPRESS OF THE SEAS off Portsmouth, England 1854

From the heart of the Clipper Ship Era, a blazer of a portrait shows the Donald McKay-built Extreme Clipper EMPRESS OF THE SEAS. Sailing off dual forts protecting the entrance to Portsmouth Harbor with a large warship at anchor and a British Brig under sail, the 230'L x 43'B x 27'D clipper flies a contingent of flags including her International Merchant Code, house flag and American ensign. Her captain, Jon Oakford, had led her on an unusual course. She left New York for Quebec, then to London, where she departed on Nov. 28, 1854 and sailed to Bombay, India, taking 97 days for the round-trip voyage back to London.

McKay sold his ship prior to completion on speculation in 1852 to a Baltimore group for a significant sum of $125,000. Her maiden 1853 voyage was over the traditional New York-to-San Francisco Cape Horn route in the waning days of the California Gold Rush; a trip she took 121 days to complete. EMPRESS OF THE SEAS repeated this voyage in 1856 and 1857, making it in 115 and 124 days, respectively. In 1858 she was leased to British Black-Ball firm Pilkington & Wilson, who put her in service from Liverpool to Australia, and 1861 she made an extremely fast voyage of 66½ days. Loaded her wool and ₤80,000 in gold, she suspiciously caught fire in Port Philip and was lost.

Tudgay’s beautiful and bright portrait captured in the first-person from life is a fitting artistic tribute to one of the finest vessels this important American builder of fast clippers ever launched.

John Tudgay
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The Barque SCOTLAND Off Dover in Two Positions

A strong commissioned portrait of the Portland, Maine barque straight from the heart of the sailing era. Likely ordered by her master, Jacob Merryman, for her owner, William Stanwood, the ship served for years. The two position portrait is complimented with the small ketch and gig boat near her, and the nice profile of the sidewheel steam pilot awaiting her maneuver. The Dover headland with a silhouette of the main castle complete the scene.

It is interesting to note that the works of I. Tudgay appear only in the singular, rather than in conjunction with the other family members. There is one school of thought which believes that ‘J’ and ‘I’ are the same.

This portrait shows some very tight detail in both views of the barque, which is reefing in sails to come to anchor. Built in 1836 at Brunswick, Maine for her owner by Stephen Harris, she measured 132’9"L x 30’1.5"B x 15’1"D. Harris had family members in the lumber and ship building trades since the pre-colonial establishment of the Kennebec communities, whom were widely known for their American schooners. Only fitting she is portrayed in a fine manner by this renown member of a family of artists.

Miles Walters
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GIPSEY in Three Positions Off Egremont

Liverpool’s importance as a maritime center of Western Europe shows through in this rare early portrait by Miles Walters of the merchant ship GIPSEY entering the Mersey. He completes the marine atmosphere with depictions of early steam paddle wheelers, a multitude of sailing yachts and an exceptional three-masted seacombe ferry boat, BANG-UP, with her advertisement on her sail.

The focal point, a port-side view of the GIPSEY, details the grace of her 112.6 foot length. With a 28.2 foot beam and 19.1 foot depth of hold, she was a large vessel for her day. Built in 1826 for John Tobin of Liverpool by Mottershead & Hayes, she primarily ran trade routes from England to India for more than 22 years.

Walters trademarks reside throughout this work. His intricate detail quality shows not just in GIPSEY’s three views, but throughout the busy harbor, the buildings onshore and the distant view of Perch Rock Fort off the coast at right. GIPSEY’s flags, from her decoded numeric Liverpool code at the foremast, her name pendant on the main, the yellow and blue Isle of Man standard from the mizzen, likely belonging to GIPSEY’s Captain Quirk, and the early 19th century ensign aft, are completely accurate.

James W. Williams
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Outward Bound

There were very few American artists who focused upon marine subjects during this seminal period of American history, and even fewer outside the northeast coast. This factor adds considerably to the interest and value of this particular work, a rare document of the era and showing a unique locale. This oil on canvas depicts a British vessel leaving what we believe to be a port in the American south, very likely the port of New Orleans itself. With a view of the settlement beyond, a stone battlement guards the harbor mouth while a full-rigged ship sits at anchor, awaiting its next passage.

Thomas Willis
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American Schooner of the New York Yacht Club

Excellent color and a depiction of several uniformed sailors with guests onboard a large, fast-moving schooner yacht on the open Atlantic Ocean outside of New York is the heart of this work by New York artist Thomas Willis. While a New York Yacht Club burgee at the foremast top and the American Yachting Ensign with the star-circled anchor are easily identified, the Blue Double-Swallowtail with a gold cross owner’s pennant has yet to reveal the specific identity of the yacht and her owner(s).

Willis worked on direct commissions and undoubtedly knew this vessel. Nice tight detail in the rig and hull of the yacht, with its silk sails well shaped and defined with parallel lines and reef points. Set on an emerald sea rolling headlong at the yacht, Willis has made his sky open and luminous with a subtle pink glow.

This is a fine work, in original condition set in a quality and an outstanding 19th Century frame. The silk and embroidery will remain vibrant out of strong direct sunlight and the oil painted back scene is quite nice and complete. With all her sails up, the identity of this Schooner Yacht is just waiting to be discovered and add more historic content to an excellent work of art.

Elisha Taylor Baker
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With a traditional folk art look, this portrait of the Maine-built schooner MADAWASKA MAID shows the strong hull lines and balanced sail plan that made Downeast schooners the backbone of American coastal trade in the 19th century. The long clipper bow and extended bowsprit give extra length forward to accommodate the formidable fore-triangle of jumbo, jib and jib-topsail.

MADAWASKA MAID was built on the west bank of the Kennebec River at the town of Phippsburg just south of the city of Bath, Maine. Launched in 1832 at the yard of William Reed she was a 130-ton coaster, 78 feet long with a 23 foot beam and drawing just over 8 feet of water. She is a typical model of the hundreds of Maine coastal schooners that linked east coast ports throughout the 19th century.

In this view the schooner prominently wears her name pennant at the main truck and a small red pennant on her foremast. The American merchant ensign flies from her gaff-peak. The schooner is shown offshore with a large flotilla of other coastal shipping seen on the horizon.

Chinese School
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Radiant with its red iron hull, the 1876 Sunderland-built Welsh barque would be identifiable even without the Eryri Shipping Company house flag proudly aloft. Along with three near identical sister ships of the line, they sailed the world, delivering Welsh slate mined from the Snowdonia region and returning to Great Britain with New Orleans cotton, Canadian timber and the spices, silks and silver of the Orient.

On approach to the island of Hong Kong and City of Victoria, the crown jewel of British colonialism (if one excuses them for America), the barque has every stitch of canvas driving her 219.5 feet, 1081 ton-plus stone cargo weight to port. Undoubtedly, Welsh quarrymen traveled along with the sailors to deliver their expertise in carving the sought-after building material, both in Asia and the Americas.

The unidentified Chinese artist used a uniquely styled blue rolling sea to set the sailing merchant upon, complimenting the vivid coloration further with crisp lines and mature shadowing. The sky holds a subtle white vapor which gives the tall ship plenty of breadth. Along with Glanpadarn, Glanperis & Glanivor, Glandinorwig was managed by D.P. Williams, a druggist of Llanberis, Wales, from her home port of Caernarvon. They derive their names from towns of the region, while the company name translates as “place of the eagles”, referring back to the mountain where the slate was mined. The stone was shipped to cities the world over, including China’s recognizable island.

Chinese School
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PEGASUS Off the China Coast

A beautiful medium clipper of iron, Pegasus and her identical sister ship, Reliance, were built in 1884 for Charles W. Corsar , a leading canvas maker of Liverpool. They sailed the world’s oceans, carrying British goods to the east and west coasts of America, and from there buying the raw materials of lumber, coal and nitrate for transport and trade to the South Pacific colonies. They would then visit the exotic ports of the far East, and return the teas, silvers, furniture and materials of the Orient to Liverpool. Pegasus held to this circuit for nearly 30 years.

The uncredited Chinese artist who created this portrait did a masterful job, showing her strengths of a full-bodied rake with the canvas full and flags on display, including her international merchant code flags exactly performed. Although owned by Cosar & Sons with their prominent houseflag and beautiful carved pegasus figurehead, the ships were managed for their interest by W.T. Dixon & Sons of Liverpool, who were connected to brokers and ports all over the world. She measured 314'l x 42'3"b x 24'9"d at 2564 tons.

The prominence of the four-masted barks is accentuated with the six-courses of sail on the fore, main and mizzen masts. Pegasus and Reliance were the first ships ever built and recorded with their officers quarters located midship, and the bright fine hardwood of their construction stands out on this painting of superb coloration. Pegasus sailed until 1912, when a storm ran her onto market island in the Gulf of Bothnia. Her load of Scandinavian lumber helped keep her afloat, and she made her last stop at the Baltic Sea port of revel under tow.

Chinese School
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Portrait of Steam-Sail BELLEROPHON

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.

C. Clausen
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MOSCOW of Boston

This beautifully detailed and proportioned ship portrait is the earliest known surviving work by the artist, but undoubtedly, it is far from the first he painted. It has such professional styling and bearing the commander’s name, B. Pittman and as such was almost assuredly a direct commission. The only other known work held in a public collection compares favorably - Bark ELLEN Passing Elsinore Castle - is in the Collection of the Peabody Essex Museum of Salem. Undoubtably others exist in private European and American collections. The Danish Castle made famous in Shakespeare’s Hamlet is unmistakable as the headland setting.

MOSCOW was built by the Portland, Maine yard of David Spear and Son, circa 1830. She originally was rigged as a full ship and weighed 300 tons. Her configuration here is after conversion to a bark, with her identity not only twice written by the artist, but shown in the Boston Flag Code high on the mizzen mast, a pre-cursor to the developing International Merchant Flag Codes. MOSCOW served as an Atlantic Packet for a succession of Boston owners, as is most remembered under the command of Captain William Dane Phelps, when he sailed her to San Francisco and came home to much fanfare in 1849 with one of the first barrels of California gold.

Shane Couch
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1911 Astor Cup Yacht Race SOLD

This bright and detailed portrait depicts the near sister Herreshoff Schooners, ELENA and WESTWARD leaving Newport, Rhode Island prior to the 1911 Astor Cup.

After some early successes racing smaller yachts, New York Yacht Club member A.S. Cochran wanted a schooner that could make the Atlantic crossing and compete in Europe, and so commissioned Nathaniel "Nat" Herreshoff of Rhode Island to build him the WESTWARD. Steel hulled and 96 feet in length at the waterline, WESTWARD was the largest sailing vessel to be built by Herreshoff's yard at the time, and it didn't disappoint. WESTWARD's first season in Europe was an unqualified success, winning every race in German waters and eight of nine in England. Upon her return to the U.S., Cochran set her to compete against his fellow New York Yacht Club members, setting off from Newport alongside the newly built ELENA.

Hearing of WESTWARD's success in Europe, NYYC club member Morton F. Plant sold his champion schooner "Queen" and commissioned Nat Herreshoff to build him an improved WESTWARD in the hopes of the new yacht, ELENA, being the fastest on the water. She is fresh from the yard here, sailing out to compete against the vessel which had inspired her.

During the summer of 1911's New York Yacht Club Cruise, the two yachts were very closely matched, with ELENA winning, taking home the "Schooner Cup". However, WESTWARD would go on to win 1911 Astor Cup, second only in prestige to the America's Cup in yachting's great annual races.

Couch depicts a perfect departure for two of the world's finest yachts of their day. Both are at full sail in a strong wind, the sun illuminating sails and shining off the sea below. In the background fine brushwork brings to life the busy port and buildings of Newport's harbor, including the spire of Trinity Church off the bow of ELENA in the lead position. To their aft, a three masted schooner is at dock next to a fine steam vessel, a perfect illustration of this transitional age where both ships of sail and steam traveled the seas.

On both yachts large crews stand ready to test their strength and skill for the prestige of their ships. With his trademark fine coloration and attention to detail, Shane Couch has captured the moment when both yachts step onto the American stage to compete for yachting glory.

Michel S. Grebyem
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U.S.S. MAINE Entering Havana Harbor and U.S. Fleet at San Juan

USS Maine Entering Havana Harbor, Dated 1898

The USS MAINE was one of the very first American Battleships built after the Civil War. First conceived as an armored cruiser, she, along with her sister ship USS TEXAS, was commissioned in 1895 and designated a Second Class Battleship.

Weighing 6,682 tons and manned by a crew of 354 officers and men, the MAINE earned her place in history on February 15, 1898 when she exploded and sank in Havana Harbor with the loss of 260 lives. The subsequent inquiry concluded that she had been deliberately sunk by a Spanish torpedo or mine and her loss was considered a major factor in precipitating the Spanish American war.

This painting by Michel Grebyem has significant historical appeal as it was painted in 1898 shortly after the explosion and depicts the MAINE steaming past Morro Castle into Havana with her peacetime dress of white topsides and buff colored upper works, a combination that would soon change throughout the Navy to battleship grey.

U.S. Fleet at San Juan

When the armored battleship MAINE was blown up, supposedly by a Spanish mine, in Havana harbor on February 15, 1898, the United States seized the opportunity to dislodge Spain from her last remaining footholds in the Caribbean, Cuba and Puerto Rico.

The U.S. Navy had three battleships on the east coast, IOWA, INDIANA, and MASSACHUSETTS as well as the older TEXAS and two armored cruisers. Reinforced by the battleship OREGON which made a spectacular 13,000 mile dash from the Pacific, this battle fleet engaged the Spanish fleet at Santiago Bay on July 3rd and won an overwhelming victory, successfully eliminating Spanish sea power in the Caribbean.

The following week, as shown in this historical Michel Grebyem painting, the triumphant battle fleet steamed into San Juan, Puerto Rico opposed only by limited shore batteries. This brought to a close the hostilities and wiped out the last vestige of Spanish influence in Central and Latin America.

John Hughes
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American Full-Rigged Ship M.P. GRACE

In this full port beam view, John Hughes presents a fine portrait of the American full rigged ship M.P. GRACE approaching Liverpool with South Stack, Angelesey coming up just under her bowsprit. Note top-hatted Captain Robert Wilbur, the vessel's first master, on deck reading signals from the Holyhead Signal Station through his long glass.

Hughes' detailed draftsmanship portrays the wooden hulled GRACE, built by Chapman & Flint of Bath, Maine in 1875 with all sail set, striving for a record run to Liverpool. Nice detail is shown in the deck structures and layout and the elegant scrollwork on her bows.

The 1,928.13 gross-ton M.P. GRACE was 229.9 feet in length with a beam of 42.1 feet and a draught of 19.7 feet. Her first home port was New York. In 1898 she became a salmon packer with the San Francisco fleet of George W. Hume & Co. where she worked steadily until 1906.

Antonio Jacobsen
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A painted portrait of the Racing Yacht MAYFLOWER, directly from the year of her most glorious campaign for owner General Charles J. Paine in the 1886 Defense of the America’s Cup. Having defeated .PRISCILLA and the New York Club’s other potential defenders in the August trials, MAYFLOWER met Lieut. William Henn’s GALATEA, the first steel challenger for the Cup, on Sept. 7. In light airs, MAYFLOWER handedly defeated the Royal Northern Yacht Club of Scotland’s challenger, both on the inside and outside New York courses.

A sensation of movement is achieved by the artist, the racing cutter is raked back at speed under a sky brightening with the rising marine layer, while the water is very active. Paine’s private signal flies high, and his royal blue coated presence is noticeable amongst the crew dressed in whites. Two schooners and another racing cutter share the water off New York.

Built in 1886 by George Lawley’s City Point Yard in Boston from the design of Edward Burgess, MAYFLOWER followed their successful syndicate project led by Paine and J. Malcolm Forbes with PURITAN, the defender of the 1885 challenge. They both possessed deeper hulls with lead ballast on the outside, overhanging sterns and modified cutter rigs, greatly changing yacht design to a far more capable boat in all weather. MAYFLOWER was 100' with a 85½’ waterline, 23½’ beam and a 9'9" draft that extended down 20' with the centerboard. She was not successful in her first matches, but after some adaptations, by August she was unbeatable, winning not only the trials and the Cup, but every match she raced the rest of the year. Paine most likely directly commissioned this great portrait in her honor and lasting memory.

Edward Moran
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Shipping Off Governor's Island

Captured by Moran, a brig under her full flight of sail is ready to brave the open sea away from Manhattan and Governors Islands in the excellent composition of this painting by New York master Edward Moran. A coastal schooner catches a tug boat tow, while several sailing yachts and a large steam liner reside along the horizon, accented by the rosy hue of the sunlight on the red sandstone of Castle Williams on the island headland.

Moran spent many of his professional days along New York’s harbor, and he painted scenes which venture beyond the work of the period’s traditional marine artists and ship portraitists. Even at this distance he presents an accurate depiction of the 40 foot-high walls of the round fort that rests across from Castle Garden and Battery Park. Interesting that Governors Island was one of the first New York locations to be settled and the castle, built in 1811, never fired a shot in warfare. The island was sold to the state of New York in 2003 by George W. Bush.

It bodes well for the sailors that the cloud bank behind them is full and billowy, showing that a the wind is most likely rising. A significant bonus is the artistic taste of Moran when it came to choosing frames for his paintings. The original ornate gilt that he selected is still with this fine work showing the diversity and activity of historic New York.

J.A. Moutte
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One of three 19th Century ship portraits to have surfaced in the modern era by the artist J.A. Moutte, this working scene of the Swedish Ship BENGAL is interesting on several levels. Inscribed with the Captain’s identity, A. Osc. Carlson, and emblazoned with Swedish Merchant Ensign and International Code Flags proclaiming her identity, the ship is a sharp lined, full bodied wooden hull with a large expanse of sail canvas.

Moutte is listed as the principle ship owner with a French firm based in Marseilles that carried his name from 1855-1880. The company owned five ships, all three masters. The first was JOHANN FRIEDERICH, built in 1855 and listed in the German registry. LOUIS MOUTTE was built and registered as a French merchant ship in 1868.

BENGAL, while a wildly popular name in the records of maritime activities, is an as yet unrecognized for a 1872 listing of the Swedish Barque. Buried somewhere in Swedish archives will be her builders history and ports of call, undoubtably in service to Moutte & Co. Directly. This fine watercolor portrait is a first step toward rediscovering its importance.

Otto Muhlenfeld
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Bark AMY

In a fine example of American ship portraiture, Baltimore artist Otto Muhlenfeld shows the Maine-built bark ‘AMY’ on a starboard tack with all sail set. At her main truck flies the owner's flag of the New York firm of Goss and Sawyer. The foremast shows her personal ship’s flag while her name pennant flies from the mizzen. Beneath the American ensign on her gaff truck is a four flag international code signal identifying her by number.

Carrying four jibs and royals set above her topgallants, the bark-rigged ‘AMY’ was obviously designed for speed when she was built in 1883 in the downeast shipbuilding capitol of Bath, Maine. The 700 ton vessel was 159 feet in length with a 32 foot beam and drew 16 feet of water. Goss and Sawyer used her in the Atlantic and Coastal trades.

Shown at the turn of the century, this view shows ‘AMY’ most likely off Baltimore, the region where Muhlenfeld created most of his work. The sea and sky are reminiscent of Antonio Jacobsen, the New York port painter, but Muhlenfeld shows his own singular drafting skills in the depiction of the ship’s lines, rig and deck detail.

Mark Myers
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North by Northwest - BALCLUTHA in the Pacific

Joseph Honoré Maxime Pellegrin
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Brig PANDORA Under Attack

Period pirate action against an American ship is an extremely rare subject. Combined with the Caribbean account within this work and it is one of the outstanding snippets of history we have come across in recent years. With present muzzle flashes and views of the battles at sea and shore, it is clear that Pellegrin either was present or heard the story directly from a participant. What is less clear is what purpose the American, a 212-ton brig which was built in Steubens, Maine in 1833, had in these waters.

The Dominican Republic, as the Trinitarians, Had declared their independence in February from Haitian rule, which had cast off Spanish rule 17 years earlier. Taking the Haitian Flag and adding the white cross, they won the Battle of Azua on March 19, 1844. It is most likely that the American ship ended up in the wrong place at this time a month later, and as a interloper in the area of hostilities, was set upon as a prize. The nine men and their record of valor and victory in repelling the Dominicans is recorded in the inscription personally by the artist.

It is of interest to note that American interest in the region continued well through the century and beyond, with the possibility of annexation of the entire Isle of Hispaniola in the 1870s. This Greater Antilles Island is west of Puerto Rico, beyond Mona Passage, between the Atlantic Ocean and the Caribbean Sea. Today the Dominican Republic is the second largest nation in the Caribbean, sharing the island with the Republic of Haiti.

INSCRIBED LOWER: “Brig PANDORA James Paxton Commander, Mounted with 5 Guns and 9 Men, was attacked in the Bay of Azua by three Piratical Schnrs of 5 Guns each with 50 men. The three Schnrs hauled off with the loss of 45 men Killed and 30 Wounded the action lasted one hour and a half. (April 15th, 1844)

Antoine Roux, Jr.
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The Brig THEODORE Captured by a Corsair

This excellent narrative portrait by Antoine Roux, Jr. Shows a rare scene of the merchant brig Le Theodore, hailing from the channel port of Saint Malo in Northwestern France, heaving to and hoisting a white flag of surrender under the guns of an independent privateer while voyaging off the Canary Islands.

The work is a fine portrait of Le Theodore with the extra dimension of the corsair adding an element of drama to the painting. Privateers operated throughout the Mediterranean and along the Western coast of Africa during the period this work was completed. Roux has portrayed both vessels quite well with deck details on the brig showing the captain observing the corsair through his long glass while the ship's crew anxiously looks on.

Roux's knowledge of ship rig and sail handling emerges here with his accurate depiction of the brig's spanker being doused with a system of brails, the top gallant sails are being clewed up and the jib is coming down as the vessel prepares to be boarded. Roux watercolors such as this are considered strong historical references to accurate ship type and detail.

Samuel Henry Wilson
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Shipping in the River Humber Off Hull, England

Edouard Adam, Jr.
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Portrait of S.S. PLEIADES
Edouard Adam, Sr.
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The Blackwall Frigate ALUMBAGH At Anchor

The Blackwall frigates were the 19th century link between the lordly east Indiamen and the more modern pacific & orient passenger liners. These celebrated first class ships plied the seas from London to India and Australia. Period ship's portraits of these vessels are today hard to find and eagerly acquired by collectors of marine pictures.

Edouard Adam has skillfully portrayed the great Blackwall frigate Alumbagh during a moments rest in the french harbor of Le Havre. A capable ship, Alumbagh is noted as one of only two vessels to survive the devastating cyclone of Calcutta in 1864 which destroyed numerous ships within the harbor and river anchorages during that disastrous season.

Alumbagh was built in 1863 by Laing of Sunderland for Duncan Dunbar of London. She weighed 1138 reg. Tons and measured 190'l x 36'b x 23.8'd. She operated in the Calcutta passenger trade and was considered one of the finest of her type ever built. Adam has at once captured both her line’s beauty and an accomplished yet subtle sunset illumination to portray her in this excellent example of his work.

Anonymous Artist
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Near the Azores on September 17, 1862, the famous Confederate Civil War Raider C.S.S. ALABAMA captured and burned the whaling bark VIRGINIA sailing on the Atlantic Whaling Grounds, under the command of Captain Shadrach R. Tilton of New Bedford. Captain Raphael Semnes of the ALABAMA wrote in his logbook: "We waited till nightfall and the freshening wind whirled the flames high in the darkness...the scene wild and picturesque beyond description."

The Executive Officer of the ALABAMA, First Lieutenant John McIntosh Kell, noted: "To watch the leaping flames on a burning ship gives an indescribable mental excitement...but, it was always with a relief to know that the ships were "tenantless" as the disappeared in lonely grandeur, with specks of vanishing light into the Cradle of the Deep."

An original newspaper heading: "December 16, 1882 -- Leslie's Weekly, Frank Leslie's Illustrated Newspaper" can be found at the reverse of the picture.

Anonymous Artist
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Heading Out

More information to follow.

Anonymous Artist
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Painting on Silk of the American Ship CORNELL

A painting of the American clipper CORNELL at full sail off an unknown headland. Plaque reads: "Port Painting Circa 1870, Shipowner -- Cornell". Very finely rendered with lots of excellent detail work on the ship and sea.

Chinese School
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Barkentine LINNET off Hong Kong

This crisp Chinese export painting dates from the period around 1890. It offers a fine depiction of the harbor area beneath the prominent shape of Victoria Peak. The Chinese artist has utilized nearly a full spectrum of blues, soft in the sky to a deep indigo in the foreground sea to achieve the pleasing contrasts and highlight the ship.

The vessel depicted is the barkentine LINNET, one of several ships of that name built at Captain Marquand’s yard in Chittagong, Burma for the Asian firm of Rustomjee Cowasjee & Sons of Calcutta. As were many of the ships from this yard, the 190 ton merchant barkentine was most likely launched as an opium clipper in the late 1850's for the lucrative drug smuggling trade between India and China.

Many of these fast opium clippers later evolved into respectable merchantmen. LINNET is shown here at a later date sailing under the British flag and wearing the house flag of a more legitimate British firm at her foretop. Trailing astern as the vessel enters Hong Kong harbor is a Hong Kong pilot junk, having just placed the harbor pilot on board to bring LINNET to a safe anchorage.

Chinese School
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Full-Rigged British Ship Off Hong Kong

From the early 19th century and on into the 1870s with the exciting & dangerous smuggling of opium, the China trade route has been an important area in commerce. 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.

Through time, this school of painting has shown a very strong and continued response in the marine art market, with several factors which define this success. The first is due to the fine esthetic qualities that these works possess: traditional portraits colored with the romance of the era. Another consideration reflects the artistic accuracy and attention to detail. This was mandated by the officers who originally commissioned the works. Thirdly, the historic importance of the various ships and their connections to the greater economic and social changes they assisted in bringing about makes the work among the most highly prized of period marine art.

Frederick S. Cozzens
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RED JACKET Under Shortened Sail
Julian O. Davidson
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Near Iona Island on the Hudson

A pristine look at the challenge of pleasure cruising on New York's Hudson River is presented from the view of Julian O. Davidson. An avid mariner as well as a fine artist, Davidson frequented Hudson locations, capturing some significant early looks at the less populous regions of New York. Iona Island is one such spot, and its beauty survives today as part of a protected ecological reserve and National Natural Landmark status. It is a known nesting location of American Bald Eagles.

In Davidson's time, the island, once connected by railroad, became an excursion destination, complete with docks, a hotel, picnic grounds and an amusement park. The hill area in view is known as Courtland Hill. While most of the island is marshy, the Snake Hole Creek is a fresh water source which rises from the center of the island to flow off the southwest. Two sharp schooners are maximizing the blustery day with efficiency off the shore, and a small excursion steam pleasure vessel is on approach to the island. A luminous glow carries softly in the sky with interesting diversity to the clouds. With the prevailing conditions, it's sure the sailors are giving full attention to their ships.

The island progressed into the hands of the United States Navy in 1900, and they established an ammo depot that was in use through World War II. It became part of the Palisades Park Commission in 1965. More than 25 species of birds also nest with the Bald Eagles amongst the 405 plant species, some in woods undisturbed for centuries.

William Torgerson
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Yachts Racing on the Great Lakes

This work depicts three large sailing yachts, a sloop and two schooners, wearing the burgee of the Oconomowoc Yacht Club of Wisconsin. The three yachts, carrying all sail, are being trailed by one of the Great Lakes Excursion Steamers filled with spectators to view the race. Period views of the Great Lakes such as this are very hard to come by. For this reason works by Torgerson have been highly valued in the rare instances when they become available.

Henry E. Tozer
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Sidewheeler in Heavy Seas with LIGHTSHIP
Painted in guache. Note the light ship to the stern of the sidewheeler pilot boat, heading out to aid a vessel in distress. It's nicely framed and matted. The frame is ebonized and it has a gilt liner.
Thomas Willis
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American Gaff-Rigged Cutter

Thomas Willis
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Steam Yacht NIAGARA

Belonging to financier and New York Yacht Club member Howard Gould, the steam yacht Niagara was a fine fixture in the bay at the turn of the century. Built in 1898 by Harland & Hollingsworth from the design of W. G. Shackford, the steel twin-screw ship was originally built as a bark, measuring 272 feet loa. Refit within her first decade without spars, sails and mizzen mast, the main was moved behind the deckhouse. Most likely Willis was directly commissioned to portray the yacht immediately, catching her in her finest condition.

The detailed embroidery, painted sky background are softly muted while the green sea is quite strong. Quite exceptional are the number of people Willis has depicted onboard, with crew members in white, while gentlemen have blue coats and white hats, and one woman in a skirt stands behind figures in reclining chairs. The Goulds, Morgans, Astors, Vanderbilts and other key members of American society all launched yachts upon which they lavishly entertained and remained in the public’s eye.

The yacht proudly flies the N.Y.Y.C. burgee, Gould’s private signal and the American ensign. She would be purchased from Gould in 1917 by the U.S. Navy and was converted into an armored patrol yacht. Her record of service includes World War I escort duty, and a decade of hydrographic work charting the Gulf of Venezuela and the coasts of Central America, retiring in 1933.

Arthur Beaumont
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Smoke Screens SOLD

More Information to Follow

Frederick S. Cozzens
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The Clipper Ship SWEEPSTAKES

James Bell
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Sailor-Made, Oil on Milk Glass of S.S. TEMPLEMORE

More information to follow.

Ron Druett
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Whalers Drying Sails

Whalers sit at dock with sails unfurled, drying them before they can be put away for their time at port in New Bedford. The artist has included detailed information on the reverse, giving us the name of each vessel and its captain during July of 1859.

Chinese School
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The oldest European buildings in China are along the once curved crescent shore of the Praya Grande, where the Portuguese explorers established and fortified their trading foothold with an entire continent. When they arrived in 1553, the small fishing village overlooked by a temple of an ocean goddess immediately became an important cultural center of the world, with the initial interactions between the East and West. Ever since, this port loaded with temples and churches has played a role in the cosmopolitan course of world trade. (The harbor is extensively filled in and built upon today.)

In this view, more than 300 years after the Dutch established contact in the early 17th Century and western ships first sailed in the harbor, a British Sidewheel Steamer is in the port of Macao, surrounded by more than 20 Chinese vessels. The artist’s perspective, looking northwest towards the Praya Grande’s center, brings Praha Hill and its stone stairway in view, with the church on top. The inlaid stone walkway of the port city is full of human figures, one wearing a special red jacket while the rest wear blue or white. One westerner in a top hat at the stern post of the closest Chinese ship directs its crew outward bound. As a natural harbor and a point of first contact, many sailors were required to remain at Macao, while some ships would anchor and others would push on to Whampoa. Only the merchants and captains directly involved in the negotiations of buying and selling were allowed access up the river beyond Whampoa to Canton. Travel would be via local craft only. From the Chinese artists who produced port and ship paintings directly for their nautical visitors, paintings of Macao are substantially rarer than other views.

André Hambourg
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Venice in the Rain

“Pluie a Venice” is painted in Hambourg’s preferred palate of muted blue-green, grey, and gold with splashes of ruby red, deep blue, and emerald green. The soft colors work well for beach scenes and rainy days such as the ones portrayed in this painting. The Impressionistic scene shows multiple pedestrians strolling down the boardwalk, shielding themselves from the rain with colorful umbrellas that provide pops of color and balance the overcast sky.

The background contains a three-masted ship and Piazza San Marco’s famous bell tower and Basilica. Hambourg uses the minimum number of brushstrokes necessary to portray ships, seagulls, buildings and people – as well as reflections on the glistening sidewalk. The brushstrokes in the sky have an interesting texture that is controlled yet carefree and there is heavy impasto throughout. His portrayal is both realistic and romanticized.

Hambourg was clearly influenced by the great Impressionist artists of earlier generations, perhaps none more than the one with a direct connection to his family. Hambourg’s wife, Nicole Rachet, was born into a family with a large collection of works by Impressionist master Eugene Boudin. Rachet’s grandfather was a contemporary and friend of Boudin’s, and a collector of his work. In their later years, Hambourg and Rachet donated over 300 canvases by Boudin and other artists to the Eugene Boudin Museum in Honfleur, France. It was such a large and important gift that the collection bears their names to this day.

Like Boudin, Hambourg was inspired by the changing quality of light over water, and used subtle tones to depict sea and sky, accented with pops of bright color. Any like many great Impressionists, Hambourg’s inspiration came from direct observation and a desire to elevate scenes of everyday life into extraordinary works of art. Even during his lifetime Hambourg enjoyed the distinguished reputation as the “Grand Gentleman of French Post-Impressionism.” A glance at this painting makes it easy to understand why Hambourg’s popularity is on the rise. “Pluie a Venice” is truly a superb example of his work.

Childe Hassam
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Church Point, Portsmouth

A charming watercolor created as the key illustration for the essay, “Pedaling on the Piscataqua” in the 1883 issue of the cycling enthusiast magazine, The Wheelman. This was the first and best of eight works that renowned artist Childe Hassam created for the article, spread into two parts over the April and July issues of the magazine.

The article details a three day journey made by “marine bicycle” along the Piscataqua River on the border of New Hampshire and Maine and out to the Isle of Shoals in the autumn of 1882. These hydrocycles, or “aquatic velocipedes”, were a recent innovation and impressive watercraft even for their day. Able to move forward by sail or the use of pedal-powered propellers, and capable of navigating the open ocean as well as the tricky waters of the Piscataqua around Portsmouth Harbor, rated as having one of the fastest tidal currents in North America.

Here Hassam illustrates them with the sail set as a sunshade as the cyclists pass Church Point, so named for the North Church of Portsmouth, New Hampshire whose spire is clearly visible in the background. A historic and important landmark even in Hassam’s day, the church dates to the 17th century and was spiritual home to several important Americans such as Daniel Webster and John Langdon as well as welcoming then President George Washington to services.

Rendered on toned paper with white bodycolor used to highlight the piece and give wonderful texture to the sky, Hassam created a refined design and striking composition. A series of small lateen rigged sailboats sit tied to the dock near a sailor, a fisherman and a small boy all of whom stare in wonder at the usual watercraft coming into view.

Unable to cycle on land due to poor road conditions, the author and his group married their first love of boating on the river with their new passion of cycling. Able to face forward while paddling was a great advantage over the rowboat and the upright seats lifted their riders high and dry on twin pontoons.

Masterfully rendered and styled by one of the most celebrated American artists of the period, this work embodies all the wonder and optimism of the late 19th century. Sophisticated and, for the time, modern graphic design elements are married to a fine landscape with American historic landmarks, the best of old and new. This excellent illustration brings to life both a specific journey and the zeal of 19th century adventurers for the sea and the latest innovations of the machine age.

Jonas Lie
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Yachting on the Maine Coast

With rich coloration and lively brushwork, Jonas Lie offers an idyllic scene along the Maine Coast. Four sloops sail together with a fifth nearer the shore, mainsails full in a light wind, along a calm but active sea.

Lie’s trademark palette of blue-greens and tones of orange dominate the work, through with greater contrast than many of his pieces. The tones are deeper and more jewel-like with sapphire fading to emerald as the sea falls under cloud, while the sun illuminates the white bark of a single birch tree, nestled in among the rocky shore. Deep sienna with impasto touches forms nearby small islands creating the channel through which our sailboats pass.

Jonas Lie became known for dynamic, impressionistic scenes like this one, painted during the many summers he spent on the coast of New England. The great majority of these works are of unidentified specific locations that he personally discovered, using his brush to depict the endlessly changing interplay of sea and land with dramatic perspective and powerful use of color.

Maximilien Luce
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Sandrecourt, Le Chemin au Bord de la Riviere

In the later part of Maximilien Luce’s life, he moved away from most everything that had defined him to that point. He moved to a country home in the picturesque farming community of Rolleboise, 40 miles outside Paris, and just a few miles downriver from Monet’s Giverny. Taking to the more quiet life, he became less involved in politics. In his art, he turned from the pointillist style and returned to Impressionism, painting landscapes like this one, inspired by the beauty of his new home.

Luce was in his late seventies when this was painted and in each stroke there is a love for the serenity of the landscape and of French country life. It’s as if he needed Impressionist freedom with brush strokes, to layer his brush with thick paint leaving heavy impasto touches, depicting the softness of the landscape, an idealized world free from hard edges. A fisherman walks casually along a riverside path, setting off to cast his line into the Seine. In the background we see the town of Rolleboise. The greens are lush and rich with depth. The sky moves golden to violet, reflecting the landscape and Luce’s Fauvist influences. The river rushes past with great movement, the artist’s skill showing activity yet overall calm. This is the mature hand of a master, free to express his own vision of the natural world.

The painting includes a photocopy of a handwritten letter from the artist's son, Frederic Luce, dated June 23 1965 and stamped by Reyn Gallery, Inc., New York which authenticates the painting and confirms that it is a view of Rolleboise.

Literature: J. Bouin-Luce and D. Bazetoux, "Maximilien Luce: Catalog Raisonne de l'Oeuvre Peint", vol. II, Paris, 1986, p. 531, no.2281, illustrated.

Francis Luis Mora
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On The Beach Valencia

This bright and brilliant work by Francis Mora depicts a way of life unique to Valencia, Spain. Beginning in the 18th Century, fishermen off the beach at Cabanyal trawl through the shallow waters near shore. Two boats paired and sailing, typically lanteen-rigged, drag nets behind and when full, return to the beach where teams of oxen pull the boats up onto the sand. Here is the moment of return- the fishermen's wives gather to welcome the boats back, collecting the fish in baskets to walk them into town, where fishmongers will hawk them shouting "Peix d'ara, viu!", Catalan for "Fish now, live!"

The tradition of Fishing with Bulls (Pesca dels Bous) was made famous by Spanish impressionist Joaquín Sorolla y Bastida. Like Sorolla, Mora embraced the Spanish artistic tradition of "costumbrismo"- the pictorial interpretation of everyday life, mannerisms, and customs, often with a romantic flavor.

It's hard to imagine a more romantic depiction of life on the Cabalyal than Mora painted in this scene. Every surface is bathed in warm light, defining the billowing sails and reflecting colors off the waves. A crowd gathers around boats on the beach while more come in, so laden with fish that their crew must jump out and push with the oxen, whose muscles tense with action. Children play in the foreground while nearby fishermen wind nets in the shallows. The colors are outstanding, particularly in sea and sky which gleam in tones of aquamarine and turquoise. It is that coloration along with excellent composition and great historical subject that put this painting at the top of the artist's output.

Thomas Moran
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Sunset View of the Gateway of Venice

Venice, with its natural harbor and historic architecture, has drawn artists for centuries. But it is American Master Thomas Moran who brought the city to its greatest heights. His most prized scenes are inspired with a luminosity and technique unsurpassed, arguably even by the hand of J.M.W. Turner, who so influenced him.

Moran painted Venice for many years, and in this vibrant and masterful work captures the interplay of light and water that’s evident in every stroke. The sky comes alive with lively brushwork that sets the afternoon clouds aflame with deep red tones over a base of vibrant blue. Impasto touches of pure color fill the foreground with ships and figures.

Moran likely sketched for this painting from shores of San Giorgio Maggiori. This spectacular view became a favorite of the artist, the scene he called the "Gate of Venice"; showing the mouth of the Grand Canal as it passes between Santa Maria della Salute on the left and the Piazza de San Marco on the right. The Salute is almost in silhouette, bathed in warm red light along with the many sailing ships at dock. On the right, the sun reflects off the pale stone landmarks of St. Mark’s Square with the spire of the Campanile rising above the Doge's Palace.

Standing before this view of the romantic city, a young couple is highlighted on one of the moored vessels in the foreground. He stands proudly in deep blue and she in a fine dress, holding flowers. His arm is draped over her shoulders and she leans in to the embrace. Were they just married in the nearby Basilica? Or maybe they took their vows on the boat itself, the deck decorated with rich fabrics while onlookers watch from nearby vessels, their brightly colored sails adding even more to the festive scene.

A marriage on Venice’s lagoon would be particularly significant, mirroring the city’s annual “Marriage to the Sea” ceremony. Started in the year 1177 and performed to this day, each year Venice is symbolically married to the waters surrounding it, reaffirming that Venice and the sea are “indissolubly one”. Moran too clearly understood this vital relationship, nodding to it by including the practical vignette on the left, where a second group of people pull in and repair fishing nets, seemingly oblivious to the celebration nearby. Moran rarely featured figures so prominently in his Venice paintings.

Thomas Moran was indisputably one of America's most influential and visionary artists with his work celebrated and collected during his own lifetime. Moran's Venice scenes were the most prized by collectors, selling for up to $5000 each, a very high price for the time. It is believed that he made around 100 images of the city.

This painting was also published as a print by Brown & Bigelow, made in limited edition and signed in pencil by the artist. Very few of Moran’s works were made into prints and the selection of this work is an indication of its superior status among his Venice works. Moran is even more prized today, and this painting that captures the romance of Venice would be a highlight of any collection.

This painting will be included in Stephen L. Good's and Phyllis Braff's forthcoming catalogue raisonné of the artist's work.

Edward Henry Potthast
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By the New England Seashore

Six figures sit atop a rocky cliff, admiring the view, while two swimmers play in the surf below in this small gem of a work by noted American Impressionist Edward Potthast. This was likely painted on location, en plein air, on one of Potthast’s annual summer sojourns along the New England coast between Maine and Massachusetts.

Indeed, a bright summer sun must have been shining on these beachgoers, as the whole work is suffused with light and color. Potthast loaded his brush with layer after layer of jewel-toned hues, creating incredible depth with lively brushwork and heavy impasto touches. The result is a scene both tranquil and festive; a seaside bluff drenched in sunlight.

The innovation of Impressionism was not only in style but in its subject matter. Gone was the focus on historical, allegorical visual records of old. Impressionism celebrated the fleeting nature of everyday moments- the movement of the sun, the wind and surf- people in natural poses enjoying common pursuits like this day at the beach. This elevation of the commonplace into art was an important theme not only in impressionism but in American art of this period and throughout the 20th Century.

Colorful and luminous beach scenes like this cemented Potthast’s reputation as an artist. While he painted larger works, he was at his best working on small panels, where the quality of his brush strokes is most apparent. To this day, it is these beach scenes of ease and relaxation that remain his most desired and collectable works.

Warren Sheppard
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Reflective Sunrise

The striking, soft light that is characteristic of the hour after sunrise or before sunset is so coveted by cinematographers that they refer to it as “magic hour.” When the sun is present at that time of day, as it is in this painting, the sky appears rose colored; shadows are less harsh and highlights are less glaring and bright.

The soft light of magic hour creates a tranquil feeling that Luminist painters, like Warren Sheppard, strove to capture with delicate brushstrokes that draw attention to the subject, not themselves. A striking feature of this painting is the reflection of the sun on the shore and the way the light shimmers at varying intensities, depending on how the canvas is lit. It’s a truly impressive painting that is impossible to duplicate in a photograph.

The warm glow of the sun on the shore is masterfully depicted in coral, gold, and a bit of blue. The seas are calm and the sky is soft and hazy. The painting creates a portal to the ocean and the relaxation that comes from a leisurely stroll at dawn or dusk amidst breathtaking views. It’s easy to understand why seascapes are the most coveted of Warren Sheppard’s works. This painting has to be seen in person to be fully appreciated.

Francis A. Silva
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Strolling Along the Bluff at Long Branch

People at leisure along the shoreline is a universal subject, and Francis Silva found it to be popular in his day. These works have become fixtures in a diverse range of American art collections, featured for their sheer beauty as well as the significance of the early luminist painter. In this superior example, numerous folks in Victorian finery stroll the shore of Long Branch, New Jersey. Our lead couple walk arm-in-arm, and parasols are apparent everywhere. An American flag tops a coastal station, and distant sails spot the horizon.

Silva’s vision in the diminutive composition emphasizes the long stretch of open beach and Atlantic Ocean. The relaxing beauty makes it easy to see why America’s first film industry established in Long Branch, and seven presidents, from Ulysses S. Grant to the unfortunate James Garfield chose to vacation, or in Garfield’s case, convalesce here, inspiring the city’s famous Seven Presidents Park. Among Long Branch’s most renown citizens, Dorothy Parker and Bruce Springsteen were born and inspired by the seashore community.

The work is a harmony of color and light, with a bygone charm that today seems so simple, but in its day was the premier destination, drawing artist Winslow Homer in 1869 to paint Victorian women strolling its environs. Silva would find his place alongside him with works such as this.

Franz Richard Unterberger
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Santa Maria Della Salute with Gondoliers on the Grand Canal

Spectacular light with radiating splashes of orange and pink tones in the sky cast a bright illumination over a serene Venetian afternoon on the Grand Canal. The majesty of the Santa Maria della Salute rises as the backstop to several gondoliers going about their daily business. Two ladies enjoy the leisurely pace of the foremost gondolier, all captured with the brushes and artistic vision of Franz Unterberger.

Unterberger layers levels of detail over the vast expanse of waterway, with graduated reflections visually echoing his subjects. Numerous ships are at a distance, from a large, anchored schooner yacht, Mediterranean local vessels with their bright patterned sails, and the multitude of gondolas, all with targeted destinations. The two domes and two bell towers of the Salute rise over the main octagon constructed to honor the Virgin Mary forward from the 1630s. Consecrated in 1681, it was built primarily of Istrian stone and bricks coated with marble dust, set on top of 1 million wooden constructed palettes; the most recognized landmark of the Italian City-State. Two other church domes are in view. Unterberger frequently traveled to Venice for more than 30 years, and painted its beautiful settings to perfection.

Franz Richard Unterberger
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Venice Under Sunset

An elegant composition capturing a late afternoon slice of life in Venice of well-dressed people walking the quayside promenade, their lifestyles in contrast to the gondoliers, women with baskets of fish and others plying their trades on the waterways of Venice. The stone boardwalk is active with water fowl as well as people, and they are all enjoying the day’s beauty, especially the small child wearing a light blue sash. Unterberger captures the setting light radiating splashes of golden yellow and warm pink tones in the sky to cast a bright illumination over a serene moment. The artist has used a pallette knife to flatten portions of the background sky, with it creating a very unusual method of relating depth and distance. The closer subjects, including the majestic Santa Maria della Salute, are painted on top of the sky layer.

Unterberger didn’t look past the presence of ships, one with a lanteen rig employing a red-and-white sail prominent amongst scattered others. Several gondoliers are just launching, while a large luxury steam yacht begins to get underway before the architectural grandeur across the channel. The finely dressed walkers with top-hats, shawls and umbrellas in view in significant numbers make a nice contrast with the emerging foliage starting to over reach the estate walls. A very nice summery scene of a late afternoon in Venice.

Henry Bacon
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Dreaming Anew

Pensive in thought sitting at a wood-slat stern bench of a departing vessel in New York Harbor, the prominent grandeur of the Statue of Liberty recently passed, a woman and her loyal dog set out on their ocean adventure. Nestled in among bouquets of flowers, she sits, one glove off contemplating the coming voyage. London? Paris? New Orleans? The destination is decided in her mind and imagination, but we know it not. Such romantic ship-board human subjects are the best works by Henry Bacon, and command his highest values.

It is interesting to look upon the care Bacon placed with the technical representation of the ship’s hardware. Parallel rail lines run against the strong vertical lifeboat davit, the weave of the rope securing the life-ring preserver to the outside face. Sensibly yet classically dressed in darker tones, her apparel echoes the last decades of the 19th Century, and the flower bloom in her blouse speaks to a sentimental attachment from someone wishing her well on her voyage.

The bright, colorful flowers add to the joy of the scene, with the haze of the harbor atmosphere and the subdued sense of the trip just getting underway. Another Steam/Sail passenger ship trails in this vessel’s wake, slicing the expanse of New York’s Inner Harbor on the way to the open Atlantic. The composition creates a longing to know the rest of her story.

Albert Bierstadt
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Point Judith Lighthouse SOLD

A fine, luminous portrait of the lighthouse at Point Judith, Rhode Island. Point Judith is on the west side of the entrance to Narragansett Bay, as well as the north side of the eastern entrance to Block Island Sound, making it a busy waterway. The waters around the point are very cold and dangerous; historically, even with active lighthouses, there have been many shipwrecks in the area.

The light depicted here is the third lighthouse built on the site, built in 1856. Today, the lighthouse looks similar, but in more recent years the upper half of the tower was repainted brown and the lower half bright white to make it a more visible landmark to ships passing in daylight.

Alfred Thompson Bricher
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The Open Coast

An excellent work showing the precision frequently present in his oils, Bricher brings forth similar ships of different scale. Focusing on sailing subjects, he presents an accomplished overview of a vast distance of this Northeast Coast anchorage. An expanse of clouds fill the sky, offering light variation over the promontory headland, and his brush application suggests wood textures and deep color for the hulls, the largest resting on bottom with the tide.

The unusual presentation, for a Bricher painting, of a foreground composition with well-defined vessels enhances the work’s appeal. Note the paced variation of diminutive waves rolling shoreward across the translucent water with accents of sunlight. A lone figure stands along the smaller starboard cabin. One must wonder what’s in hand- an anchor line, a fishing pole or perhaps a drift net- at the end of the rope.

Bricher, as this canvas attests, helped define the luminous school that was fundamentally devoted to displays of light and air. He strongly influenced American marine painting and helped produce some of its finest moments. Working primarily in the Boston area and later in New York, he traveled nearly every summer up the Northeast Coast looking for the seasonal qualities of light he desired, and that his art is now much in demand for depicting.

Chinese School
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View of the Hongs, Canton

Sought by collectors worldwide, art and artifacts showing an early western presence in the Orient boomed with the opening of the China Trade by way of the sailing ship. The surviving paintings which capture the important Chinese harbors of the 18th and 19th Centuries with western merchants are at the top of such a list of desirable items.

Showing the American, British and Danish flags over their respective factory houses, the Pearl River traffic bustles beneath the shore of Canton city’s edge. Foreign merchants and captains had to anchor off Whampoa, down the river, and travel by junk, sampan or other transport operated by the local mariners, using a wide variety of propulsion, as shown. No firearms, women and very few average crewmen were allowed to travel upriver to Canton. Though all seemed to make their way upriver anyway, if in secret.

This example, showing great coloration and detail, represents the height of the international tea trade and the period of record sailings by the clipper ships. No less than forty people occupy the many vessels on the river, all playing a part in the vast trade.

A large decorated cruising barge floats in the background as musicians play traditional Chinese instruments accompanied by a singer, likely serenading guests with popular selections from Peking-style operas. An important looking official stands on the high rear deck of his ship as many oars propel him forward. A fisherman’s single oar craft overloaded with fish, navigates through the larger ships, making his way to sell the catch.

Note the shoreline’s wealth of trees and foliage between the hongs and river, mostly planted in the 1840s by an American indemnity fund company. At this point, there is even a Western church before the British factory, at the end of Hog’s Road, which was built in 1847. A second great Canton fire in 1856 destroyed most of this area, and it was never fully rebuilt. Paintings like this form an important and historic record of a time and way of life now lost to history.

Set in its original gilt Chinese Chippendale frame.

Montague Dawson
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Heave Away, Racing Cutters SOLD

A trio of English racing cutters compete over an ocean course in this lively mixed-media watercolor and gouache work by maritime art master Montague Dawson. The challenge of yachting skill is quantified by speed, and the crew of each yacht knows it must act as a harmonious unit to get the most out of their cutters. With the helmsman hard on the tiller to brace the rudder, the two sailors are heaving the main sail to turn the cutter yacht back into the wind. Once the trailing yachts make their turn, the three vessels will all have the task of tacking into the breeze to make the finish line.

Dawson excelled at realistic portrayals while keeping his art fluid and loose. Unmatched in his portrayal of the chaotic power of the ocean, here he has caught a moment with the lead cutter dipping the starboard rail deep, leveraging every tool available to make the brisk turn and keep the lead. The full sails of the chasing yachts shows the prevailing wind’s headlong direction. The mix of media allows Dawson a freer, flowing style. He excelled in yacht subjects of this media in the 1930s.

As an artist, Dawson strove for realism while mastering the artistic aesthetics. The individual character of the three yachtsmen in the cutter’s deep cockpit is remarkable, and one may actually feel their rising spirits as they lead the match. Their competition is still in sight, and they know that victory is round this mark and to be found across the finish line.

Ramon Dilley
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La Swann, l'ete, du Cote des Cures Marines

This delightful composition lays out a picturesque scene of the French seaside resort of Deauville including beautiful ladies attired in the fashion of the day, a serene locale and sporting pastimes including sailing and horseback riding along the sand.

A fashionable woman in dove grey sits below a striped umbrella, staring intently into the unseen interior of the tent. Another in period bathing costume stretches in a lithe pose, perhaps preparing for a swim. A third woman just out of view stands on a small boardwalk into the sand. But the main focus is La Swann, the tall figure at the center of the painting in a form fitting gown of pale pink with matching parasol, offset with deep blue gloves. She is elegant, standing off the sand next to bright blossoms along a fence, gazing quietly out at the sea. In the distance, we see the spa with French flag which gives us the “cure marines” of the title. It is thought that the medicinal use of sea water, products of the sea and the coastal climate, also known as Thalassotherapy, originated in the seaside towns of France in the 19th century.

Detailed, active and with fine fauvist detail, the composition and technique recalls works by famed artists Kees van Dongan and Jean Pierre Cassigneul. This work has all the hallmarks of the best of Dilley’s style. Given Dilley’s talent, his choice of subject matter and the desire for this style of post-impressionism, Dilley will be an artist to watch for and collect in the years to come.

Francois Gall
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A Day at the Beach

This work holds an interesting blend of people enjoying beach-side leisure as painted by artist Francois Gall. Done in an artistic spirit harkening back to Eugene Boudin and other famous 19th Century Impressionists, Gall also imbues some unique elements within his bathing homage to those who came before him. Foremost, a woman undresses to reveal more skin and an animal-print racer back bathing suit that would have been en vogue right in the 1940s period the painting was created. Around her, the style of the beach-goers and tents are harmonious with late 19th and early 20th Century fashion.

An interesting clue to Gall’s world vision may exist with the two children playing in the sand at the left foreground, a mound created with a prominent blue-white-red French national flag inserted into its shape. Is this possibly a nationalist French scene, and Gall is transporting viewers back to a simpler time? Several bathers prep and change among the striped beach tents and others are in rather formal Sunday-best outfits, including a young woman working her braid in the center foreground. The combination of highly desirable subjects of people at leisure at the ocean-side with Gall’s excellent artistic talent makes this a top work.

A bit of pier is visible at a distance, and the harbor appears to have a significant width, so it is possibly Douranenez or another western-facing Brittany Coast location. The wet sand closer to the surfline shows a gentle slope, and the suggestion of sails on the water exist to various degrees. The colorful setting and fabrics are even more amplified by the graduations of gray clouds, very much in homage to Boudin’s best paintings.

Charles Henry Gifford
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Brigantine at Sunset SOLD

A beautiful active sea holds a sailing brigantine before a blazing sunset in this work of luminosity by C.H. Gifford, dated 1898. A heavy palette and impasto texture help to present the depth the artist sought, echoing the early 1850s’ paintings of Fitz Henry Lane, for one. The low horizon is full of interesting play in color and shadow, laying what would otherwise be an overwhelming sunset.

Gifford strove to portray realistic subjects while capturing the natural light and reflective qualities on the water. He settled in New Bedford, and his Lafayette home included a studio tower that achieved 60 feet in height, so he could enjoy an unobstructed view of the harbor and local environs. His eye for subjects was influenced heavily by the works of New Bedford painters Albert Bierstadt and William Bradford, alongside of the works by Lane.

He held a certain amount of respect and admiration for the sailing fishermen of the East Coast, and often portrayed them up close and personal, battling the harsher elements, or sharing the joyous beauty of their ‘work place’ of the open ocean and coasts. Even late in the 19TH Century, with the rising industrialization and dominance of steam propulsion, Gifford held to his preference for the working boats under sail and shoreline views of the eastern seaboard. This is a fine presentation of the highest quality of his work, in oil and quite a large canvas, quite rare for his hand.

Duncan Gleason
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Fighting Ladies of 1815

Throughout the history of travel and trade by sea the threat of piracy has been a constant plague to sailors around the world. For European merchants, the coast of North Africa was a hotbed of pirate activity for centuries. At minimum pirates would demand tribute for passage through these waters- at worst cargoes and ships were stolen and crews taken for ransom or as slaves. It’s estimated that more than a million Europeans were captured and taken as slaves just between 1530 and 1780- including ships from the British Colonies in America.

Eventually known as the Barbary States, the coastal city states of Tripoli, Tunis, and Algiers were central ports for pirates, each with a thriving European slave trade. While under British rule, the American Colonies were under the protection of a British Treaty with these ports, but once America became independent, it was open season on American ships once again.

Deeply in debt after the Revolutionary War, the US Government was unable even to afford to maintain warships and the Continental Navy was disbanded and all ships were sold. With no defense or threat of retaliation American ships were attacked with impunity. It was this rise of Barbary piracy that drove Congress in 1794 to allocate funds for six new frigates whose first job would be to attack pirate fortifications in North Africa and thus the United States Navy was born.

The First Barbary War (1801-1805) resulted in President Thomas Jefferson obtaining concessions of fair passage from local rulers and ships were safe for a time. In the following years, the U.S. was drawn into conflict with Great Britain over trade with France, leading to the War of 1812. Meanwhile in 1803, French leader Napoleon I began attacks on European neighbors that would lead to the Napoleonic Wars, raging on until 1815. Knowing that American and European Naval forces were distracted with various wars, the Barbary Pirates slowly restarted their business of ransom and plunder.

With the end of the War of 1812 America refocused on its pirate problem. On March 3rd 1815, the U.S. Congress authorized deployment of naval power against Algiers, and two squadrons were readied for war.

On May 20th, 1815 the first squadron departed New York harbor under the command of Commodore Stephen Decatur- the flagship USS GUERRIERE of 44 guns, the USS CONSTELLATION of 36 guns and the USS MACEDONIAN of 38 guns along with seven smaller warships- Sloops of War EPERVIER and ONTARIO, Brigs FIREFLY, SPARK and FLAMBEAU and Schooners TORCH and SPITFIRE.

It’s easy to see why Duncan Gleason was drawn to depict this proud fleet as they sailed into what would be a decisive and important victory in American history. Decatur’s squadron was a combination of new ships, one of the original six U.S. Naval Frigates (CONSTELLATION) and vessels captured during the previous war- representing the hopes, struggles and victories of the young nation. That bright optimism and spirit comes through in brilliant and warm sunlight across the sea and sky, all in Gleason’s trademark warm color palette. With full sails, the ships charge forward in a strong wind cutting though an active sea, all superbly rendered with great luminism and fine brushwork.

As for Algiers, the deployment of the second squadron wasn’t even necessary. Decatur and his fleet quickly captured two Algerian warships including their flagship MESHUDA and sailed on to the Bay of Algiers where on July 3rd, 1815 under the threat of an all-out assault the Dey (ruler) of Algiers signed a treaty granting the United States full shipping rights in the Mediterranean Sea.

In one step Decatur not only negotiated a treaty very favorable to the United States but further legitimized the American government and power in the world. It would take Great Britain another year to negotiate such a treaty for themselves.

These battles in what came to be known as the Second Barbary War would further cement Decatur’s fame, making him a national hero in his own lifetime and a legend as one of the greatest Naval officers in American history. Gleason has brought this fleet to life in almost allegorical splendor, showing how these early pioneering vessels would go on to inspire generations of the American Navy.

Mauritz F.H. de Haas
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Daybreak on the East Coast

Luminous morning coloration radiates the cloud-covered skies in this fine painting by Mauritz De Haas, warming the day’s beginning for numerous mariners who started with the dawn. Every manner of ship propulsion is visible, from the stalwart sidewheeler steaming through a multitude of sailing ships to the rowed craft of the fishermen in the foreground water. Viewed from an elevated shore position, the amount of nautical traffic and the direction of the rising sun suggests a south facing shore along Cape Cod, perhaps Hyannis, or the outer shores of Long Island near Southampton.

The sky glows with a range of warm oranges, pinks and yellows, with the clouds blushing from the soft morning light to their dark edges where they are thickly layered. Sky breaks show the brilliant turquoise blue of the brightening day, and the sails of large cutter and schooner glow forth in the sun’s light. In contrast, the ocean is a thick deep green, with brown depths and flashes of red next the white streaks in interesting blends.

Nice additional touches include the anchor incorporated into the artist’s signature between his name and the date, and the wonderful original American frame with its restored gilt full of floral carving and engraved motifs. This outstanding composition needs only the luminosity created by the color and light of the artist’s vision and brushes to enrich any surroundings. The ability to depict these light qualities is what De Haas is best known for.

Edward Moran
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Dockside Daydream SOLD

Captured by the esteemed Edward Moran, the premier painter of idyllic scenes of activity in and around New York Harbor, a youthful pair contemplate the day, the catch and possibly their futures along a dock situated above the water. Performed in a touching manner by featuring the youngsters, the pier top holds enough detailed objects to qualify as a still life of objects by itself: a picnic basket lunch, a pail, some carved bait and the texture of the wooden structure and boat all complement the couple. The heavy atmosphere has a cooling effect on the overall emotion of the scene, as does the thoughtful looks of introspection worn by both the boy and girl. Moran allows just enough light to filter on the water to make it glisten and the subjects stand forth.

Moran spent many of his professional days along New York’s harbor, and painted scenes which go beyond the work of the period’s traditional marine artists. Even at this distance he presents an accurate depiction of the buildings across the way and a schooner at anchor. Most likely this is near the artist’s East Hampton 19th Century home. It is possible that these are two people from the large extended Moran family living there.

The moment’s quiet echoes forth from the canvas, and holds hopeful for their futures and the possibility of landing a prize fishing catch. Moran was content to immortalize them in this pleasant vignette of historic New York.

Thomas Moran
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Venice SOLD

In original period frame, which has been regilded.

Reynolds Beal
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Narragansett Bay & Newport, Rhode Island 1902

If a more storied port that Newport, Rhode Island exists on the American seaboard, it will have a tough time proving it. Even the vaunted ports of New York and San Francisco pale to match the activities of Newport in terms of historic longevity and sheer variety of use. History records its establishment in 1639 when Warren Coddington set out from Portsmouth to start his own settlement. Provincetown artist Reynolds Beal shows the harbor’s mature grandeur and diversity in the remarkable impressionist painting, with its view of the harbor from the Warwick Headland breakwater.

Superb with his trademark colorful vibrancy, Beal shows a turn-of-the-century square-rigged sailing ship accompanied by several sailing yachts and a schooner running upon the water. The foreground rolling waves meet the natural breakers to elevate the work. An expanse of cumulus clouds complete the imagery of this vast vista.

Landmarks confirm the location of this work combined with the unique visual geography. The dominant structure is Fort Adams, located on the Brenton Cove Peninsula. The fort is one of the largest seacoast fortifications on the east coast, covering more than 23 acres. Built in the 1820s, the main battery housed the U.S. Naval Academy during the Civil War. Under its protective presence, six yacht clubs operate in the harbor, including the Newport Yacht Club, the New York Yacht Club, the U.S. Naval Yacht Club and the Ida Lewis Yacht Club, named after the harbor’s famed lifesaver of lime rock lighthouse.

Jean Pierre Cassigneul
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Les Tents Bleu SOLD

An absolutely superior work by artist Jean Pierre Cassigneul, on a glance this painting of a woman walking her little dog on a beach boardwalk is instantly appealing. Subsequent views make this charming narrative portrait even more so. The vibrancy of the use of primary colors invokes a clean, bright simplicity to their world, and the slightly exaggerated, lithe stature of the central woman and a yellow-dressed companion sliding off stage right make a viewer wish to visit more of their stories.

The linear flow of the painting translates the ocean’s distance and dark-blue horizon’s depth, and delineates the boardwalk’s wood planks to the stretch of white-sand beach. The French-style blue beach tents capture the work’s title, while the partial flag overhead and a colorful patterned scarf compete for the attention of the breeze. The small brown dog is having none of it, ready for the leash-holder to began again after her introspective pause.

One would be remiss not to notice the fashion present: beret and floral pin accent the first woman’s outfit in contrast to the fore-mentioned scarf, and the modest yet feminine 1920s cut of the dresses complete with coordinated heels, and the “graffito” belt, created in the thick oil by the artist’s linear cross-hatched scratches . A overall very desirable work by Cassigneul, an artist we feel is increasing in esteem and demand.

Conrad Wise Chapman
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The Beach at Trouville

Sensations of walking barefoot through cold, wet sand on a hot summer day are not to be taken for granted. After fighting in the American Civil War just years prior, Conrad Wise Chapman held this thought or a like one for many years. He celebrated his worldwide journeys with small panoramic paintings which feature people at leisure in their natural surroundings. The gray skies of the coast of France are famous over the globe, and for a handful of years after 1867, Chapman reveled in their cool presence.

The period dress of the well-to-do middle class is observed in the women sitting on wooden, four-legged chairs at the beach, watching the couple who are holding hands in the surf and the smallish manned sailing skiffs about their business. Flagged anchorage poles line the edge of the shelf, so inbound boats make find their marks. Some others frolic is the ocean as well. In the great distance, a large sailing ship and a steamer make for the headland ports across from the Normandy’s Côte Fleurie (Floral Coast). Chapman’s beach scenes of Trouville and nearby Deauville achieved his widest recognition for their fine aesthetic quality within his lifetime career. They are similar to the most important paintings of Eugene Boudin of people at the beach in this very same period.

Alson Skinner Clark
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Santa Monica Summer

A consummate professional artist, Clark took great care to enjoy his life with his wife and son, Alson Jr. Extremely well traveled, and maintaining a residence in Paris, he settled into California to recover from an injury to his hearing in World War I. In this last quarter century he blended epic historic murals for the Los Angeles Cathay Circle Theater and the Pasadena Playhouse, with beautiful local scenes Clark discovered and caught with oil on canvas. Here he has locked in a precious view of the beach goers of Santa Monica.

The summer activity is in full swing, as far as the middle season may last nine months or more in California. The vast sea of beach umbrellas and the field of colors they cast drew Clark to linger and paint. Quite interesting choice is his semi-isolation, southside near the pier’s decaying underbelly with the tire inner-tube rental business languishing along with the rest. Bathers idly spend the day, with the Santa Monica Mountain to the north spanning from Topanga to Malibu and Point Dume in contrast to the hot clean California sand under Clark’s feet. While he painted many California scenes, they very rarely ever come out of private collections onto the art market.

Gustave Courbet
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La Cote du Mer

This painting is attributed to Gustave Courbet, and although listed as a collaboration in Jean Fernier’s forthcoming catalogue raissoné supplement of the artist’s work, it is our opinion that this painting is pure Courbet with possibly some assistance by Louis Augustin Augin who was, at the time it was painted, a student of Courbet in the region of Saintonge. The masterful technique used to portray the sky, sea and sand as well as the coloration in the rocks strongly suggests Courbet’s touch.

In a simple composition (also a Courbet trait) believed to be the coastline near the village of Royan, Courbet would have quite possibly been offering an example to his student and helper of how to capture the beautiful austerity of nature. Courbet’s brilliant use of thick layers of paint applied with a palette knife is another of the traits quite evident in this work.

The quality of this painting is in keeping with other examples by this important Barbizon artist. The wonderful balance of the dramatically colored sea beneath the soft clouds is bisected by the tall rocks that divide the view. It shows Courbet painting “things as they really are” the guiding principal in his work that marked his greatness.

Jack L. Gray
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Fishing Off the Maine Coast

Dories were a common theme in Jack L. Gray’s work, as was the life of fishermen along the northeastern coast of North America. In 1959 Gray moved to an 18th century Cape Cod home and studio on the banks of the Penobscot River in Winterport, Maine. There he created a series of paintings, of which later critics, notably art expert Ian Muncaster of Halifax, would characterize as his best work.

In this Maine scene fishermen hang their nets to dry behind riverside fishing shacks. Barrels and boxes lie ready to receive the catch, while the colorful dories sit tied just offshore. The rocks and fir trees on the far shore beyond are very characteristic of the area. As a fisherman himself, Gray surely knew many such afternoons where after the catch was in, the fisherman could sit on a dock in the sun and maintain the tools of their trade.

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. His time living in Maine was short, only two years, but clearly one of the most interesting for his artistic output.

Richard Hayley Lever
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U.S. Battleships Down the Hudson

A very important moment of history for the United States Navy, the assembled mass of naval might is on formal review by President William Howard Taft and his Secretary of the Navy while on progress down the Hudson River into New York Harbor. The last of the Armed Cruiser Class met the first of the American Dreadnaught Battleships, U.S.S. ARKANSAS and WYOMING, on this epic occasion on October 14, 1912. More than 100 navy vessels from auxiliary ships to the largest of battleships were on display.

President Taft, a huge man prone to be somewhat reactionary in his decisions, if history in hindsight is allowed to make such judgements, was impressed with the direction of the country’s naval growth. He inherited the policies of President Theodore Roosevelt, and expanded the American presence throughout the hemisphere. In the midst of having decided not to campaign against Roosevelt and eventual winner Woodrow Wilson, President Taft chose to go aboard ARKANSAS (BB-33) and cruise to inspect the newly begun canal zone in Panama.

Showing his unique artistic style, Hayley Lever made a sensational impact in New York City starting in 1911 with his interpretive Post-Impressionism of such aggressive texture, brushwork and coloration. On hand to witness this epic moment, the New York Times wrote that the event was “the greatest assemblage of naval strength ever assembled.”

Arthur David McCormick
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A Pirate's Discussion

Even rogues must follow directions and their own code to achieve success. Pirates such as these salty men would have measured such by the contents of their purse, stashed wealth and of course, the quality and size of their ships. No fewer than 16 pirates are depicted, most listening with attention to the tale being spun by one of their members mid-deck. With his audience arrayed opposite him, it has the feeling of a tale recanted of a epic battle moment and a miraculous escape or fate for one of their own. One mate listens close-by while working the rig, while others are seated beyond within, a tri-corner hat-wearing pirate in a long coat stands at a quarter-deck railgun, directing a sailor manning the wheel. Two others are up the next deck, scouting with a telescope.

Strong colors with interesting specific details reside throughout McCorkmick’s painting. A sky-blue slice of brilliance holds the upper corner with clouds bracketing, and shadows play over the men and their ship. The geometric harmony of the parallel deck planks makes a nice uniform contrast to the somewhat loose and chaotic outfits of the pirates, each with his chosen unique head-covering. Makes a viewer wish paintings could talk, to be brought into the action and story. McCormick blends the romantic nature with realistic touches to make his paintings highly and widely collected.

William Edward Norton
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On the Coast of Holland, Fishing Boat Ready for Sea

An interesting homage to the issue of rank amongst the crews and officers of all vessels, a captain is carried to his ready command by one of his subordinates through the ocean surf in this coastal scene by William Edward Norton. It is along the Dutch Coast, as is recorded by the artist himself with an old label verso, extremely rare for this artist to have provided any identifying information for his painted subject.

We are told as well that it is a fishing boat, although the thick, rounded hull and dropped sideboard would have made that our first guess, as well as its Northern Europe nationality of the vessel. It was on these shores that Norton perfected his art, following in the steps of William Edward Cook, famous for such scenes through the 1850s.

A serene implication falls over the composition with Norton’s intentionally muted, soft sky tones; the atmosphere feels cool and heavy, yet the colors of the ship’s rails and hulls pop in their blue, green and red hues. The crashing white impasto of the surf gives the scene not only depth, but practically a third dimension with its thick application. The overall feeling of optimism for their success makes this a great and unusual vertical coastal scene, a perfect compliment to a traditional ship portrait.

Warren Sheppard
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Sunset Shoreline

Inspired by the success artist contemporaries such as Francis A. Silva and Alfred T. Bricher found painting luminist scenes, Warren Sheppard sets out to capture the serene essence of a fading day within this painting of the American East Coast. He physically glistens the wet sand with soft reflective color before and after the beached hull compressed by age and the unrelenting surf. At sea a schooner catches the late wind and sets a course back to port. It is peaceful yet lonely scene, and a solid atmospheric composition that uses light and color to project its content. This is a very early work by the artist, we feel, of a favorite beach in his home state.

The subtle interplay of colors works in this instance as the deep gray-green ocean rises in a short wave break, most likely along the outer New Jersey shore. The horizon glows with a warmth of rose, and the clouds are driven from the sky. The entirety is simply worked into the composition in a very tight, natural order.

Sheppard has worked layers of elements into the picture with an interesting horizontal, left to right presentation. The horizon divides the realms and yet is countered by the dark hulk. The shore break splits the swell while its rhythm carries perfectly through the reflection cast across it. Everything reads left to right until the sky once again draws the eye back around to revisit and inspect the overall fine work. The emotional center draws not from the bones of the ship, but from the visit to the shore itself.

Alfred Emile Stevens
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Promenade Au Pied D’une Falaise En Normandie SOLD

An original and detailed narrative scene with an unusual perspective of the often depicted cliffs of normandy, the painting is a nice depiction of people at leisure. The title literally translates to “walk with the foot of a cliff in normandy”. The double entendres of walk and foot apply to both the elegant figures and the physical location’s attributes, so we’ll leave the definition to speak for itself, as the artwork does so well.

Much in keeping with his contemporary artists around the french coasts, a grey somber sky is flush with cool depth, and every beach visitor is properly, fully attired. Canes and parasols in hand, they stroll with children or their beloved pets. The foremost couple relax to watch the cutter yacht and several more sailing ships beyond the light-marked stone jetty breakwater. A lone figure prepares a bonfire stack on the beach as well.

Stevens treatment of the different textures of the beach, ocean, chalky cliffs and lush grasses is beautiful to observe in its intended full composition and interesting close-up to the surface. While it’s an impressionistic painting with loose boundaries, he gave a great deal of care to the placement of each touch of the brush. Specifically, even though there are few in the overall composition, his soft, suggestive treatment of the small wild flowers near the couple have the haphazard yet well thought out positioning true to nature. His sky has aggressive, wispy brushstrokes, and the wet sand is slick, applied in smooth layers in some spots with a stroke of a palette knife. This is a well executed painting with desirable subjects.

Anthony Thieme
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The Bowsprit

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.

Frederick Judd Waugh
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Distant Island

Frederick Waugh was a prolific seascape artist who generated 2,500 paintings of the sea and shore. Although it was never published, he penned a ten chapter book on marine painting. Some excerpts were later published in a book about Waugh written by George Havens. They allow us to better understand Waugh’s paintings through his own words. He wrote, “I find that my most striking pictures of the sea are those strong in contrasts, the shadows as dark as I can get them and everything in between of the proper value all the way up.”

Waugh believed in “observations, concentration, and then application” of paint. He stated, “No doubt the sea is a difficult subject. To paint it convincingly means long, careful observation of its many phases.” No doubt he put in the required hours to familiarize himself with his subject, which changed with the tide, wind and weather.

He painted as quickly as possible and felt it was crucial to establish the sky tone first. Capable of painting realistically, Waugh believed in simplifying as much as possible. When sizing up a scene, he looked for big shapes first, since he believed “art doesn’t begin and end in detail.” He embraced the mystery that resulted from areas that were left unfinished.

While working, Waugh continually backed up and looked at his canvases from a distance. We can see the impact of his approach in this painting, the lower left side of the canvas includes bold color choices that reveal themselves when viewed close up but blend together when viewed from a distance. The rocks in the foreground feature highlights and shadows created with brushstrokes in cobalt blue, green, yellow, pink, and orange. The bright colors contrast with the muted green-blue sea and periwinkle sky. The foam on the ocean waves include impressionistic highlights that come to life thanks to gentle pink and orange tones that mimic the sun’s warmth. An unusual feature is the distant island, which is probably off the coast of Maine. In this painting Waugh demonstrates his mature and accomplished talents.

David Burliuk
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Lovers at Santa Monica Bluff

Just northwest of the famous Santa Monica Pier, a romantic rendezvous 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.

George Curtis
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The Broken Mast

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.

Duncan Gleason
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The Yacht Kitskad Off Catalina Island SOLD

Duncan Gleason lived in New York and other places for work or studies but it was really Southern California where he felt most at home, and looking at his body of work, that love of the state is all there in his paintings of our landscapes.

Here Gleason shows us a perfect Southern California afternoon on the fine motor yacht Kitskad with all aboard enjoying a view of Santa Catalina Island off the California coast. Gleason and his family were frequent visitors to the island and he is known to have painted many views of its land and shores. Chewing gum magnate, and key figure in Catalina’s history, William Wrigley Jr. was a friend and collector of Gleason’s work.

Anyone familiar with Catalina’s landscape will recognize its peaks behind the yacht. With the isthmus off to the right, the boat is cruising in the calm water on the leeward side of the island. Gleason used a unique color palette which makes his work instantly recognizable- particularly in the range of aqua tones and complimentary oranges, depicted in brilliant sunlight, as we see here. Those sundrenched colors were also synonymous with California in the early 20th Century.

The craft seen here is no ordinary pleasure boat, this was a state of the art cruising yacht, a 48 foot 1950 Chris Craft DCFB (Dual Cabin Fly Bridge) Cruiser. This yacht graced the cover of Chris Craft’s brochure that year, and would have cost over $300,000 in today’s dollars. Gleason’s group of friends included some of Hollywood’s elite and area industrialists, and he often painted their yachts and sailing adventures as well as his own.

Original artist label is attached verso with the title and bearing the address of his 2411 Edgemont home in the Los Feliz area of the Hollywood Hills.

Jonas Lie
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On The Coast SOLD

An excellent example of the American scene painting movement, this composition by Jonas Lie offers a characteristic and brilliantly rendered view of life among the islands of coastal Maine.

Here, fishermen stand at ease on and near their Muscongus Bay sloop, sails loose but still aloft to dry in the afternoon sun. These gaff-rigged craft were the traditional fishing boat used off the coast of Maine, typically for lobstering, until the gasoline motor came into use in the 20th century. Two of the men wear the yellow oilskin trousers of lobstermen, essential to protect their legs when hauling in heavy traps. In the channel beyond, two yachts head out to the open sea, sails full and hulls cutting swiftly through the waves.

Jonas Lie often depicted the sea, channels, and ships with dramatic perspective and powerful use of color. He became known for dynamic, impressionistic scenes like this one, painted during the many summers he spent on the coast of New England. This scene is particularly vibrant with deep blue to turquoise tones contrasting warm corals and reds, all to convey the richness of full sunlight on sea and land. The whites are particularly intriguing with myriad tones reflected in the sails, echoed in the distant clouds.

Lie clearly felt at home in the fishing towns of Maine, his practiced brush rendering idyllic views in bold brushstrokes. With a desirable subject, excellent color and mature technique this painting has all the hallmarks of his finest work of the period.

Housed in its original period gilt frame, recently regilded, with original gallery label verso with title.

Mary Blood Mellen
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Sunset Calm Off Ten Pound Island Light, Gloucester SOLD

Evening light with radiating orange and red tones in the sky illuminates the world and this wonderful painting by Mary Blood Mellen of Ten Pound Island and Lighthouse within Gloucester Harbor. The Massachusetts shore is in view across the waterway while a two-masted coastal yawl works what little wind there is to make her way. Two other mariners have decided to employ their oars on their small sloop.

Mellen has rightly come into her own appreciation out of the enormous artistic shadow of Fitz Henry Lane. Gloucester locations are her featured specialty, with Ten Pound Island being a favored locale, not only of hers, but of Lane’s and Winslow Homer’s. The best of these works present just what this one has in abundance, an evening sunset full of luminous glow, serene water and a slice of the constant effort of the mariners. A New England lobster trap floats in the water as well.

This specific work, although unsigned as are the majority of her paintings, is widely published as one of the most iconic representations of Mellen’s artwork, after years of its location being unknown to the public in general. She remains an influential piece of the emergence of American Luminism.

W. Andresen
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Portrait Mrs. E.R Le Marchant

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.

W. Andresen
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Portrait Of Captain Evelyn R. Le Marchant

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.

Gifford Beal
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Rounding the Mark

A colorful pallette combined with a feathery brush technique mark this action filled image of two grand banks schooners rounding a mark in the International Fisherman’s Races off Lunnenberg Nova Scotia. Their top hampers full and straining with the press of wind filled canvas, the American and Canadian competitors define the meaning of the schooner term “fast and able”.

The first of these popular fishing schooner races began in 1920 after a challenge was sent to Gloucester by the Halifax Herald. The Essex built Esperanto was selected to challenge the Canadian champion Delawana. With a hand picked crew, Esperanto sailed to victory and the beginning of an 18 year rivalry that produced some of the most exciting races in history.

This expressive work captures all the nostalgia of an era that glorified the American fishing schooner. Built to spend the entire fishing season at sea and then utilize their great speed to be first in with the catch, these yacht-like vessels combined beauty and a hardworking seaworthiness that marked the apex of commercial sail and a exciting chapter in yacht racing.

James Bonar
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Massachusetts Harbor of Mattapoisett

A crisp view of an extremely rare detailed harbor scene of the American Northeast has two dockside gentlemen enjoying a clear view from the Mattapoisett Shore, looking southwest back toward Shell Beach and Fairhaven. Historically Mattapoisett and her neighbor to the northeast, Marion, formed with the City of Rochester into the community of Old Rochester. Ned’s Point Lighthouse stands guard at the harbor entrance. A black man watches from the fourth floor of the local sailmaker’s loft.

Bonar was particularly known for his industrial scenes and regional views, and this is very much a portrait of a busy, working harbor. The scene is accomplished, with accuracy points that show Bonar's engineering background, such as the nice proportionate scale of the ocean-going tug boat running broadside, while the sleek-lined coastal schooner departs the local wharf, with other ships at their anchorages.

The region holds its small town charm today, with summer crowds of social elite taking residence. In the 19th century, the shipyards and lumber mills of Old Rochester supported the whaling and fishing industries of Cape Cod and Martha’s Vineyard. The primary railroad connected to Marion in 1854, so the area rebounded quickly after the Civil War and the discovery of petroleum, more than some of the neighboring towns. This American scene by the artist is an accomplished look at one of the prominent harbors of greater Buzzards Bay.

William Raymond Dommersen
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Cattora, Italy SOLD

On a well traveled path, the artist set his canvas to capture a view of the Italian fishing village of Cattora, believed to be a remote portion of what is now Greater Naples and the Isola D’Ischia on the horizon beyond. Note the moorish influence to the architecture in the small village and the red terra cotta rooftops, while the virgin forest grows right to the town.

A Mediterranean lateen-rigged fishing boat, with the rust-red & light beige sails often found on craft in these waters, cuts a perpendicular line to the inlet. Small commercial fisheries still exist today along the Italian shores, keeping their markets supplied with some of the freshest seafood in Europe. The people onshore are a bit less ambitious about their quests. As a woman walks the path, another pair catch a brief rest while they talk with mule driver. All four are dressed in colorful, late 19th century peasant garb.

Dommersen’s familiarity with many European regions led him to feel right at home throughout Europe. While most of his scenes are Dutch, his Italian works share a pastoral quality of soft illumination and relaxing emotion. Almost always of the coastal waters, he expertly combines landscape and atmosphere to paint compositions which translate the entirety of an area. Cattora has since grown and evolved into a much greater metropolis, but will remain ever charming in his view.

William Raymond Dommersen
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Lighthouse at Tholen

A bright afternoon along the coast of the Netherlands sets this marine narrative by Dommersen. No less than four fishing crews have chosen to land near the Tholen Lighthouse to sell their day’s catch. The foremost crew has captured the small market of women waiting across the stream, and two masts denote the presence of others just beyond the lighthouse. The prospect of quickly selling the herring and cod in the fourth ship’s hold seems slight today.

Dommersen, a Dutch national, embraced his homeland for its vast network of inlets, channels and rivers. The Netherlands hold a great shoreline to area ratio, and the low elevation along the North Sea ensures fine tidal access to much of it. The country’s dominant economic industry has always been fishing. These crews may sail along the Ooster Schelde waterway and arrive at the town of Bergen Op Zoom, where the tall church spire rise out of the horizon five miles distant.

Using tight realism with a focus on accurate scale and exacting reflective qualities, the artist excels in presenting the local character of the land. From the uniform white cloth bonnets and colorful fabrics of the women to the deep-rouge of the sail cloth, it all accents the central feature of the stone lighthouse. Note the old fortification wall the structure is built upon, a remnant from the days when holland warred with her neighbors, usually the English. By this day, the whale-oil light atop the exterior staircase would welcome the British ships and all other visitors.

Charles F. Gerrard
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Regatta in Sydney Harbour

Period yacht racing is a rare and desirable subject for marine paintings, and a 19TH Century work from Australia of this prime subject is among the rarest finds we may offer. The artist, Charles F. Gerrard, shows up in 1882 on the Sydney professional trade list as a painter, then as a marine artist and finally as simply ‘artist’. He exhibits his first works with the Royal Art Society in Sydney in 1884, consisting of coastal scenes. He is extremely well received by his contemporaries according to newspaper reports.

The recognizable features of “The Rocks”, along the western shore of Sydney cove near the harbor bridge, stands forth as a superb background for the racing yachts. This historic location is the foundation of the British Australian empire, and today is the oldest preserved colonial district in the country, described as “Sydney’s outdoor museum”.

Fine-lined cutter yachts compete over a sailing course, with two shown in great close detail while five more hold their positions in the regatta, as the rhythmic small swells are evidence the wind favors the leaders running on close reaches with the crossing tide. The crew and yachts are very much in the British formal yachting manner, with full uniforms and the plum-bow hulls. Note that there is one crew attired in red, possibly a naval marine team, and the sail steam ship anchored in the center flies the Australian Colonial Ensign proudly.

Luigi Loir
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The Pier at Trouville

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.

Sally Swatland
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Breaking Surf

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Builder's Dockyard Model of a Steam Tender

A very rare builder's dockyard model of a steam tender from the 19th century luxury steam yacht Wintonia. The model is made in mahogany with plank on frame construction. Built to scale and in excellent condition, all original, with brass hardware and steam engine the model is housed in its original glass and mahogany case.

The luxury steam yacht WINTONIA was built by Day, Summers and Co. In Southampton, England in 1894 for her owner F.H. Putnam. She weighed 233 tons and measured 137' LOA x 19.2'B x 11.2'D.

Among the photographs of the model you can also see a detail of a painting of the Wintonia by Antonio DiSimone and an original photograph that were formerly in our gallery collection. These are not included in the piece but are shown for reference.


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Builder's Half Hull Model of the Mary Jose

A fine builder's dockyard half hull model of the iron three masted sailing barque MARY JOSE. Built by Birrell Stenhouse & Co. of Dumbarton, England, she was completed in 1876 and launched on January 26th of the same year. Weighing in at 634 tons at a length of 177 feet, 29 ft. breadth and 17.5 ft depth, she was built as a cargo vessel.

She served her first owners, John Jose & Co of Perran-ar-Worthal, Cornwall for nearly twenty years before being sold to J.P. Calusen of Nordby, Denmark, where her name was changed to the Agda. In 1918, she was sold to Manuel G. Marron y Angulo of Havana, Cuba. A year later, she was came back to Europe under the ownership of Chemins de Fer de l'État Francais, Marseilles and was renamed GENEVRIER, until being decommissioned in 1926.

This model was constructed of lifts to aid in shaping the final ship's hull. The painted plaque on the lower right bears the name and location of her shipbuilders.

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Extremely Large Napoleonic Prisoner of War Bone Model of the H.M.S. CALEDONIA

Ordered in 1797, the 120 Gun First Rate Ship-of-the-Line HMS CALEDONIA was launched in 1808 from Plymouth Harbor, taking to sea as Admiral Pellew's flagship in the Mediterranean.

CALEDONIA proved to be a very successful ship, and it was said that 'This fine three-decker rides easy at her anchors, carries her lee ports well, rolls and pitches quite easy, generally carries her helm half a turn a-weather, steers, works and stays remarkably well, is a weatherly ship, and lies-to very close.' She was 'allowed by all hands to be faultless'. In later years she was to become the standard design for British three-deckers.

The ship served the Royal Navy throughout her long life at sea, first as a battleship seeing action against the French in the early 1800's and decades later renamed DREADNOUGHT and docked at Greenwich for a time to serve as a floating hospital ship. She even participated as part of an experimental squadron testing new maritime strategies and technology.

The supreme sailing warships of their age, British Ships-of-the-Line were classified by the number of cannons they carried. Fewer than 18 in service at any point carried 100 guns or more to earn the first-rate designation. Considered a pinnacle artform of the ship modeling craft, bone ships made by prisoners during the Napoleonic Conflict are among the most collectible maritime artifacts to be identified.

This rare model is one of the largest POW bone models we have seen in 44 years of offering these models in our gallery

Model Dimensions: 45 Inches in Length Overall, Height 31 1/2 Inches, Depth 12 1/2 Inches, Hull approximately 27 3/4 Inches Long

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Full Builders Dockyard Model of Sister Tugs FLYING SWIFT and FLYING LINNET

Port Glasgow sits on the Clyde River, and has been major center of shipping since the late 1600’s. Set up as port for the nearby city of Glasgow, this was the last place seagoing ships could dock before sandbanks made further passage upriver impossible. A hundred years later, shipbuilding came to the area and by 1900, it was a major hub of the industry, with yards crowding the river banks.

It was in this setting that the four brothers of the Ferguson family launched their own shipbuilding company. The family leased a choice yard space next to Newark Castle on the Clyde and in March of 1903 Ferguson Shipbuilding Company was born. Their first order, two steam tugboats, the FLYING SWIFT and FLYING LINNET for the Clyde Shipping company. This builder's dockyard model of the tugs was likely the first thing to come out of their new venture.

Modeled in 1/4 in. scale and in outstanding condition, this rare model has recently had all fittings replated in gold, silver or copper. Displayed in her original glass and mahogany case, this is a striking piece of the model craft full of fine detail throughout, from the fire buckets on the cabin roof to the lights on her mast and deck, to the anchors and fittings on the bow and rear deck and more. Unusually, there are two presentation plaques, one at the bow and another on the port side, perhaps an extra effort for the yard's first commission.

Tugboats were the workhorses of the ocean and full dockyard models of historic tugs are rare and hard to find. Both of these vessels were very active bringing ships up and down the Clyde, to and from docks along the river. Details remain only for the Flying Swift, which launched on October 26, 1903 and operated for more than 50 years. A photo of the historic vessel is shown in the listing for reference purposes (not included).

Today the Ferguson Shipbuilders are the last remaining shipyard on the lower Clyde, and the only builder of merchant ships on the river. Still in their original location next to Newark Castle, the yard is the last vestige of an industry which dominated the area, and Scottish life on the sea, for more than a century.

Hull Length: 29 Inches Long


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Live Steam Launch Ship Model BAT

Extremely fine workmanship went into this live-steam scratch-built 1/8 scale model in complete working order. It is a late-20th Century model of the Windermere Boat built by Brockbank from her first owner, Alfred Sladen, from his own design. Completed fitted out with a working engine and equipment, in is absolutely an artisan ship model, set in a heavy brass-edged glass case for display.

The hull is plank-on-frame, painted red below the waterline. Historically, BAT was the first ship ever steered by remote control, from the experiments of Isaac Story and Jack Kitchen. It is believed the first example of a vessel being controlled by radio. Found derelict at Bowness in 1966, she was rebuilt and now can be found in the Windermere Steamboat Museum. This epic British scratch-built live model is one of four known to have been built to this quality.

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Steam Racing Yacht SCUD of 1896

Streamlined and elegant, she may not look like today’s luxury speed yachts, but when she was built in 1896 the Steel Steam Yacht SCUD was “the fastest of her size afloat”. Built by John Samuel White Shipyard in East Cowes, Isle of Wight, SCUD was the well-appointed pleasure craft of known sportsman and yacht racer A.H.E. Wood, Esq. of Sudbourn Hall, Suffolk.

Designing for pure speed, White based SCUD’s hull on the sleek lines of early torpedo boats of the Royal Navy, down to her ram shaped bow under the waterline. The ship measured 85ft. in length with a beam of 10ft., 6 in. and depth of 5ft. 10in. She had one propeller, powered by a 530 horsepower steam engine, the steam being generated in a Blechynden water tube boiler. She was noted for having J.S. White's patented turn-about steering system with double rudders.

This finely crafted builder’s dockyard model of the SCUD was built at the same time as the ship itself, and is in outstanding condition and in its original case. The carved wood hull is laminated and with many silver plated fittings throughout. The life preservers bear the vessel’s name and her membership in the Royal Victoria Yacht Club, one of England’s premier racing clubs and home to the finest and most competitive vessels of the time.

Mounted on a face silvered mirror to give the illusion of a full view of the vessel, the addition of angled end mirrors allows the model to be viewed as if standing at stern or bow, to better to admire the ship’s lines. A wood name plate bears her name, shipyard, designer and owner. This fine representation of the SCUD was surely the pride of her owner when he was not aboard the yacht itself.

The June 1896 “Steamships, AN ILLUSTRATED MONTHLY SCIENTIFIC JOURNAL”, reported on SCUD’s steam trials at Stokes Bay: “(She) developed a speed of 20.25 knots an hour or 23.5 statute miles.” “The pressure at the trials was 200lbs., not quite full pressure. The revolutions of the triple expansion engines were 428 per minute. She has very much the appearance of a second-class torpedo boat, so far as her deck arrangements are concerned, and her bow and stern are of naval fashion. At the bow she carries a powerful electric searchlight. She is beautifully fitted below. The saloon and stateroom are aft, fitted with the electric light, and upholstered in royal blue and golden yellow. The crew are berthed forward. Running at over 20 knots there was hardly any vibration. The vessel commanded a good deal of interest amongst the yachting fraternity in the Solent.”

Wood wasn’t known for long ownership of his yachts, preferring to trade up to the latest technology for improvements in speed. SCUD was sold in 1898 to W.C.S. Connall who in turn sold her in 1902 to His Highness Sir Waghji Ravaji, Thakur Sahib of Morvi, an Indian prince in what is today’s State of Gujarat, India. Ravaji still owned her when SCUD was wrecked in 1909.

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Half Model of the SS DONNYBROOK

An exceptional Dockyard Ship Half-Model in a classic hardwood and glass half-round display case. Built circa 1875 in the Wear Dockyard by S.P. Austin & Hunter, this renowned firm began in the Sunderland region in 1826 and built ships well into the 1960s. While the Austin family were associated with this yard for this entire span, James Hunter was a partner only from 1874 to 1879 before striking out to establish his own shipbuilding and repair yard.

This model of the Iron Composition Three Masted Bark is highly detailed and set on a mirror backing, creating the illusion of a full ship model in half the space. Clean woodwork, from posted lifeboats and capped rails, to the carved and gilded male figurehead are all well done. The deck is ink lined and hatches are painted, and there is an unusual small staging platform at the genesis of the bowsprit, rising above the trailing scrollwork. S.S. DONNYBROOK was used as a multi-purpose vessel, carrying cargoes throughout the British Empire. A fine quality period builders model in exceptional condition.


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Napoleonic Prisoner of War Boxwood Cased Miniature Model  SOLD

A pair of very fine miniature ship models, one a First Rate Warship, and the other her escort vessel are set atop a mirrored base, surrounded by a boxwood railing with carved finials, all set under a period glass dome case.

The models are made entirely of boxwood, including the rigging and sails made of very thin and delicate pieces which took a very steady hand to create. Each ship has an incredible amount of detail which can be seen in our photos on this page. Notice the fine ornamental touches throughout- the larger ship includes diamond patterns on the quarter galleries and gunwhales, a floral pattern with rope border on the sternboard and transom, and a repeat of the diamond pattern in several hatch covers on deck. The maker embellished the model further with finely painted highlights in red, green, blue and black with metal accents.

At the bow, a figurehead of a warrior, likely a Trojan or Roman given its attire, holds a shield with silver toned pattern. On deck, there is a curved bell tower and bell, and detailed capstan along with barrels and a pair of matching tenders amidships.

The escort ship echoes the design of the other vessel, with a diamond pattern on a hatch cover and insides of the railing, painted red. A pair of finely wrought anchors sits on both sides of each ship's bow.

The prisoner who made this model clearly had an extraordinary patience and steady hand. The photos make the detail elements appear large, but to view the model in person, these things are tiny to the unaided eye. It's an important model that is a marvel of construction and design.

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POW French Prisoner of War 74 Gun Bone Model

Sailing among the massive 100-plus Gun First Rates of the Napoleonic Sailing Warships, the French and British Navies were well represented by a vast number of capable vessels. The single classification that most belonged to would be the 72-to-82 Gun Ships that made up the French Standard and British Third-Rate classes. Considered to be both the ‘Backbone of the British Royal Navy’ and the French Admiralty’s most versatile warship, these Men-Of-War saw more of the naval combat in this era than any other type.

A sharp and finely carved ship model, a Trojan Warrior Figurehead holds the bow forward, shield and sword at the ready, with traditional carved rope line rails, and catted anchors, followed by a bell in its belfry and a deck capstan and barrels. The hull is pinned and planked, with contrasting gunwales between the decks of cannons, their ports painted the traditional blood red. The finely carved stern and quarter galleries echo the elite cabins of the officer’s living quarters. The base fits the model perfectly in style and size.

This work of precise modelers art was made in a British wartime prison, and it records the French pride the skillful makers held for their naval ships. Where most of the Prisoner-made models were of British ships, to find a ready market sale through the guards, this particular 74-Gun warship still held the French identity of her artisans. A great example of this elusive and sought after nautical art form.

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ROYAL SOVEREIGN, Silver Sailing Ship Model

A classic ship from the true Age of Exploration, the ROYAL SOVEREIGN was a penultimate leader of the Royal Navy in the time when England began to dominate the world's oceans, separating from Holland, France, Spain and Portugal. This striking silver ship model carries .800 Silver Proof Marks, and has most likely made in the first quarter of the 20th Century. With gilded flags and other elements, the silver model is fine lined and well displayed. The Royal Mark of Charles the First is embossed on the hull, near a Three-Plumed Welsh Crown of the Prince of Wales and lots of cannon barrels. The full sails, billowing forward are an excellent touch in the precious metal rather than cloth, and period lanterns abound.

Built in 1637 as SOVEREIGN OF THE SEAS, the First-Rate Ship of 102 guns was actually rebuilt in 1660 and renamed to ROYAL SOVEREIGN. She served until 1697. This revisioned model of her glory days in a proper representation of one of the first true sailing warships.


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Scratch Built Ship Model Of American Privateer SHARK

A fine scratch built model on an inlaid wood stand inside a mahogany and glass case. Unique features include incised copper plating on the hull and brass cannons and anchor.

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Scratch Built Twin Stack Sidewheeler Model of an Oceangoing Steamer

A scratch built model in silver plate with brass accents. In a period style case, this model was built circa 1870.

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Steam Steel Screw Tug CRUISER

The tug this model represents, CRUISER, was built by Alexander Stephen & Sons in Glasgow, Scotland for the local firm of Steel and Bennie. At her launching she measured 105' LOA X 21.B X 11.9 D.

Tugs found service early on during the steam era as wooden merchant ships used their assistance to enter and depart in otherwise adverse weather conditions. Soon even the hardened souls who championed the wooden warships realized that the time of steam-driven ships had arrived.

This builder’s half model is quite well done, mounted on a mirrored backboard to give the illusion of a full view of the vessel. The fittings are gold plated and the builder has given ardent attention to the ship’s precisely scaled representation.


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Builders Half Model Barque DAVID MORGAN

This cased ship model of the Barque DAVID MORGAN is a very good example of the Port Glasgow shipbuilding by William Hamilton & Co. and the modelers employed by this renown firm. The steel sail/steam cargo vessel was built in 1891, directly for H. O. Morgan of Liverpool. She spread 246'L x 38'1" x 21'6" with a gross of 2550 tons.

Mirrors at 45 degree angles at both ends of the case allow one to look down her length coming or going, with the bow having a gilt trailboard leading to her name. A box aft of the captain’s quarters has a nameboard as well, near the proliferation of portholes and angled cabin skylights. Other deck instrumentation and cabins are carved wood with black inked details, such as on the anchor cathead.

The cargo ship ran many routes, and Morgan sold her to Andrew Weir & Co. in 1896. Weir was a prominent Scottish banker who began investing heavily in steam shipping in 1885, evolving his company into the Bank Line of Liverpool until 1955. DAVID MORGAN only made it two years for the company, when on a run from Philadelphia to Nagasaki, Japan, with a cargo of case oil, she cleared the Delaware Breakwater and was never seen again. In this model, she sails and steams onward still.

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Builders Model Hull of French Iron Clad Warship

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Clipper Ship COMET of 1851

A fine quality contemporary scratch-built clipper ship model, in 1:96 scale, of the Clipper Ship COMET. She was built by William Webb of New York, launched in July 1851, to serve in the height of the California Gold Rush Trade, primarily for the passenger and cargo. On a return voyage to New York, she set a 76 day sailing record that still stands for a sailing ship.


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Dockyard Model of British Tugboat EMPRESS OF INDIA

A spectacular full dockyard model of the British ocean-going tug boat EMPRESS OF INDIA, built in 1898 in Greenock, Scotland. The Steel Single Screw Tug was constructed in exacting style directly after the style of American tugs of New York with their long working deck space and elevated cockpits above the steadily raised hull. Working tugs are extremely rare as dockyard models, and this is a premier example of such a large Tug Boat model.

Steeply rising, the wood bridge helm and cabin is accompanied by the Red and Black company funnel, a solitary lifeboat suspended over the skylights on internal davits. Polished silver fittings run throughout the model’s deck, and her paint has been polished to a glossy sheen. Her skylight and cabin windows are painted on, the planking is inked, while the porthole windows and lined with an opaque green film. The quality glazed hardwood case completes the model in protective fashion.

Built for Jeremy Constant of London, he used her in multiple endeavors until selling the tug in 1903 to Sir John Jackson Ltd., who put her into service in the expansion of the Devonport Dockyard. She sold again to Florence Tugboat and Salvage Co. in 1907, to the Tees Tug Co. Ltd in 1909, in 1913 to the Anglo Persian Oil Company who renamed the tug SIRDAR-I_NAPHTE. She returned to British owners in 1915, and was retired soon after.

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Extremely Rare Builders Half Model of a Double Ended San Francisco Ferry

Backboard measures: 78 inches long x 7 3/4 inches high.

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Full Ship Model - BELTED WILL of Liverpool

Possessing sharp detail and artistic quality, this model of the 19th Century wooden full-rigged ship BELTED WILL is an accurate representation of an iron beamed ship built by J.T. Fell at Workington in 1863. Set into a diorama display with a models and painted sea, she is the realistic image of the working vessel. The modeler has fitted her out in entirety, with life boats, lines everywhere, and sails up, dangling their reef points.

Several ships were built in Workington for owner J.H. Busby fo Liverpool, and primarily put into service in the China Tea Trade. BELTED WILL ran for several years, putting in a voyage of 103 days to Hong Kong on her maiden sail. She sailed the next six years under Capt. A. Locke, and then her owners were changed to Shaw, Bushby, & Co. in 1880. She sold to Anton Hulthen of Helsingborg in 1883, and lasted until being stranded on the rocks at Yttergrundet at Soderarm in July 1893.

This is a fine display model of a bygone era on sailing merchant ships, and an excellent individual example of the craft and skill of British ship-modeling.

Wood & Glass case with Modeled Plaster Sea: 50½ x 17¼ x 31⅝ Inches,


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Half Model of the Ship EXCELSIOR of Maine

Build in the Kennebunk yards at the birth of America’s grandest commercial sailing age, the 444-ton EXCELSIOR exemplified the first priorities of merchant shipping: full-bodied lines with heavy, dependable construction, allowing for secure massive cargoes. This would soon make way for the concept of speed, both in the already competitive tea trade with the Orient, and the California gold trade.

Her authentic builder’s half-block model shows the pride of craftsmanship the ship rightly deserved. Smartly painted in black with the dual waterline yellow-red combination, her level keel in the oxide-inspired red, the original paint is a highly desirable attribute for a model of this age. The bow trailboard has gilt decoration and the ships name is smartly at the port rail. The model fills the simple heavy wood backboard with presence.

Her history of service is varied and interesting. While far from completely recorded or discovered, she is listed as a ship under the command of Captain Charles Williams of Kennebunk at her launching. The Williams were merchant ship pioneers, in that they both captained and owned ships in both the merchant and whaling trades. His brother, William H. Williams is recorded as her captain the next year. She hits another role in 1848, listed under the Benjamin Bruce’s line of Boston as a coastal passenger and cargo carrier. She registers on the New York port survey in 1853, as a member the Old Line of American ships sailing to foreign ports. A verbal provenance suggested she did some whaling in the era as well, but substantiation of this service has yet to be found. A versatile ship remembered through a quality builders model.

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POW 68-Gun Sailing War Ship of the Line

A warship that formed the backbone of the British Royal Navy through the Napoleonic Campaigns and beyond, this 68-Gun Man-O'-War is a fine representation of an artform that has fascinated ship model collectors since its inception. Imprisoned soldiers and sailors, held primarily in British ships that had been turned into hulking prisons on the water, became studios for industrious captives, often of French or Dutch allegiance.

Sharp lines, good proportions, and an attention to detail are all notable features of this carved bone Napoleonic Ship Model. Dressed with carved railings and outfitted with the appropriate fittings, the model is set on a marquetry boxwood base with a carved bone scrolling edge plate. A very nice combination of historic value and artistry in this ship model.

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Silver Plated Gaff Rigged Cutter


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Steamship Company Boardroom Model North German Lloyd’s BREMEN

A full model of the turbine steamer which announced the return of the glorious North German Lloyd Line in 1928, a company which established itself in 1858. BREMEN’s first taste of fame came on her maiden voyage from Bremerhaven to New York, earning the blue ribbon on an average speed of 27.83 knots, breaking the 20 year record held by the Cunard Line's MAURETANIA. She would win it again in 1933 after her sister, EUROPA, won it in 1930 for a westward crossing.

The 92:1 scale model is masterfully complete, with the configuration showing the 1933 lengthening of her funnels. This refit allowed the engineers the opportunity to correct the engines driving the quadruple screw turbines. Measuring a fit 938'L x 101'B, the ship weighed in at 51,656 tons. The 102 inch model is only slightly less in its brass, glass and wood case. The multiple decks are devoid of people but full of miniature details such as the companionways and davit-held lifeboats and launches.

It is interesting to note the floatplane on the suspension catapult at the mid-deck. A German innovation which very few ships of any type were able to carry, the boom would swing and extend to launch the plane. This aircraft would have been used for mail service to the shore and as a spotter plane on watch for enemy ships once war was underway. Beneath the aviation launch are the cutaways of the name, backlit with the port and starboard running red and green lights, which are hard wired and functional. Variable sections of the cabin portholes and deck lights work as well. The upper deck fittings are 22-karat gold plate and in exacting position. Note the sheer number of signaling stations to communicate with the engine room and pilot house.

BREMEN, the fourth such liner to carry this name, was in New York harbor at the time of the onset of World War II. Leaving without passengers, the ship skirted the Norwegian coast and made her way safely to her home port of Bremerhaven. With plans underway for it to be used as a German troopship in an offensive move against the United Kingdom it is reported that a Junior crew member, upset over being disciplined, set fire to the ship on March 18th, 1942. A total loss, she was finally broken up in 1953.

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American Sailor Made Folk Art Diorama

More information to follow.

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Bone and Teak Ship Model

Sailing ship model with very nice detail, with bone masts, cabins, decks, rails, complete rigging. Nice artisan wood and glass case.


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Boxed Set of 12 US Navy WWII Era Training Models SOLD

A set of twelve US Navy wood ship models with metal fittings, each mounted on wood with the vessel name on the underside with the maker name, Comet Metal Products Co. Inc., Richmond Hill, NY. The set was used for training purposes to teach sailors to identify ships.

Ship models in the set: Iowa, Balitmore, North Carolina, Cleveland, Independence, DE51, Livermore, Fletcher, Sims, Chicago, Brooklyn and South Dakota. The largest model is 21 Inches long and the smallest is 7.25 Inches long.

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Builders Dockyard Model S.S.MINARD CASTLE SOLD

A very sharp and clean British Dockyard Builders Ship Model of a rare, early type in its original case, S.S. MINARD CASTLE shows as an example of the transitional period of merchant steamships with auxiliary sails, the rig used in complement to its Dual Cylinder Engines. The model is sharply lined, as the vessel itself was, and is quite attractive with its natural wood hull reflecting the materials used to build the ship and representative model alike.

Three pairs of small boats hang on davits parallel to its type: lifeboats, crew launches and officer’s boats. The deck is complete with four hatches, cabins fore and aft in number, and all the inked details of the many doors and windows. A full contingent of winches, booms and working gear complement her masts and sqaure-rigged sails. Her somewhat narrow beam of 32' compared to her 322' length and 26' depth of hold would have made her a challenging ship to sail and power, as her history proves.

MINARD CASTLE was built by Raylton Dixon & Co. in Middlesbrough, in North Yorkshire on the River Tees. Sir Raylton Dixon would build more ships than any other builder on the South Bank, first partnered with John Backhouse, and then with his brothers, John and Waynman. Raylton would become mayor of Middlesbrough in 1889. MINARD CASTLE wasn’t as fortunate. Launched in 1882, the 2,460 -ton vessel would wreck six miles southeast of Hong Kong on April 10, 1883 while carrying a cargo bound for Saigon, at a total loss. Her fine display in this model in its original case help us understand what a tragedy that must have been to her builders and owner, Thomas Skinner of the Cleveland Dockyard. A very rare and early steam/sail transition Merchant Ship Dockyard Model in superior original condition.

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Builders Half Model Stern Wheel Steamship HERCULES of Portland, Oregon


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Contemporary Model of the Sailing Yacht AMERICA

A finely crafted contemporary model of the famous 19th century racing yacht, AMERICA. Crafted of wood with copper sheet hull, with excellent detail work.

The foremost historic racing yacht ever to sail, the Schooner AMERICA won a silver cup worth 100 British Guineas put up by the Royal Yacht Squadron in 1851. This race established the longest competed for trophy in world yacht racing and all sports in general- the America's Cup, named for this schooner, the first vessel to win the famous race. For her speed at sail she was called a “Hawk among the Pigeons”

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Wood hull and deck warship model of H.M.S. VIVACIOUS (D-36) from the Northampton, England company of Bassett-Lowke.

Wood and metal construction, painted in battleship gray with dark red below the hull's waterline. Two of the mid-sections lift off revealing a single cylinder inverted vertical steam engine and boiler driving a single screw with three bladed propeller. Details include two masts with rigging, two funnels and 10 ventilators. Mounted on a wooden stand.

The model also includes a postcard photo of the actual ship mounted on wood under acrylic with a plaque bearing the name of the vessel.

Dimensions 39 Inches Long x 5 Inches wide x 14 Inches high, 16 Inches high with base. Base: 29½ Inches long x 6¼ Inches wide.

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JOHN CARVER, American Whale Bark Model
A quality cased American Whale Bark Model, with good age, circa 1900. The Ship JOHN CARVER was built in 1841 for Albert Carver of Searsport, Maine. The vessel weighed in at 298 Tons, and after 1870 ran primarily out of New Bedford in the Atlantic and Pacific Whaling Trades. At least one of the Bark's Log Books is in the collection of the NEw Bedford Whaling Museum, listing Master Jacob L. Howland in 1870.


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Live Steam Outboard Motor Boat - POLLY-WOG SOLD

Rare Broucher, New York live steam outboad motor model, POLLY-WOG.

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Sailor, scratch Built Model Of The Full Rigged Four Masted Ship LOCHNESS

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Builder Half Model with Multi Color Lifts


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Builders Half Model - American Downeaster

35 inches long x 5 1/2 inches high.

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Builders Half Model - American Merchant Schooner

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Center Board Sloop Pond Model

64 Inches high with stand x 35 Inches long x 10½ Inch beam.

Base dimensions: 9¾ x 27½ Inches.


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Half Model of the S.S. MEDWAY

Built in Sunderland in1879, the Screw Steamer MEDWAY was a product of the shipbuilding firm of S.P. AUSTIN & HUNTER in the district where the Tyne River meets the North Sea on England’s East Coast. Powered by a 99-horsepower compound engine built by Northeast Marine Engineering Company, the cargo ship also possessed two schooner-rig masts, and proved quite competent.

The model is very desirable, and it shows it in its highly unique half-round glass and carved display case, complete with hardware designed to flush mount the model on a wall. The masts are admiralty-style cut-aways, with just their beginnings showing. The decks come completely loaded with the working equipment necessary to run the large ship. The funnel is cut away as well, while there is a large vent next to the stack and one more in the middle of the small forecastle deck. Each deck and bridge is defined by fine carved ivory balustrades.

The model’s precise scale well represents the ship’s 226'L x 31'B x 15'8"D actual size. While the ship’s hull was built with four main bulkheads, the model is carved and owns fine gilded bow and stern decorations. Registered at the Port of London, the open bridge with wing bridges to each side would have offered spectacular views of the English Coasts and cities along the Tyne and Thames Rivers.

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MISS ENGLAND III, Pennant No. K.1., set the World Speed Boat record at 119.81 miles per hour with Kaye Don as her racing captain at Loch Lomond, Scotland, on July 18, 1932. Smack in the evolutionary heart of the modern sport, she faced off against MISS AMERICA X in the Harmsworth Challenge Cup.

This is a fine scale model of an early dual-prop hydroplane speedboats with a squared-off stern.

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Pond Model With Lock In Rudder

55 inches high with stand.

36 inches long.

9 inch beam.

Stand dimensions: 15½ inches long x 7 inches wide.


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PRIDE OF BRITAIN III, Wood Toy Boat by Bing

More information to follow.

Signed on stern "Malcom Waterson"

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Scratch Built Ship Model of the American Brig MERMAID, Boston

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Builders Dockyard Model- Iron Hopper Barge

By Edward's Brothers now Smith's Dock Company Ltd. Iron & Steel Ship Builders & Dry Dock Owners- North shields.

Dimensions:Model: 24 5/8 inches long x 7 inches wide 7 3/4 inches high with stand. Base:11 7/8 inches x 31 3/8 inches.


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Builders Half Model - The Medium Clipper ARGYLESHIRE SOLD



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Cased Half Model of Lifeboat-National Lifeboat Institute

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Steam Sail Ship BRENTWOOD with Original Oil Painting

An excellent example of the Diorama Model. The inclusion of the finely worked oil painting behind and to the sides of the model is a rare and unique inclusion to this diorama. Another unusual feature is the inclusion of figures on the deck.

The painting features a three masted Barkentine steaming in the opposite direction of the model, with a third ship, a Cutter, aft. Edged in a fine gilt frame, in its original case and in outstanding condition.


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American Folk Art Ship Model

20 inches long x 11 1/4 inches high x 4 inches wide.

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Builders Half Model of the Yawl WOODBINE

The Yawl WOODBINE was built in 1881 in Northam Southampton, England, measuring 55 feet long with a breadth of 12 feet and of 37 tons.

The model comes with 2 registry bill of sale documents, 1897 and 1930 as well as a hand written inventory of all items associated with the vessel, Lloyds insurance papers showing particulars including a accommodation plan and 4 log books. Also a 11 5/8" dia. plate with the vessels name as well as 4 period photographs

Log Books:

Paper bound ( not shown ): beginning 1898.

Blue bound: beginning: 1899.

Green bound: beginning: 1902.

Book with flags: beginning: 1906.

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American, Scrimshaw Sewing Chest with Bone Inserts

Retains its original finish and hand painted floral design and stripping.


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AUSTRALASIAN Off South Sydney Heads

Proud Liner of the Aberdeen White Star Line, AUSTRALASIAN carried emigrants and first-class passengers to Australia and the Southern Orient in the late 1880s & 1890s. This colorful period woolwork picture depicts the steaming vessel near “South Sydney Heads” with its prominent lighthouse, with a man working the signal tower flag. Several sailors and passengers are shown onboard the ship as well. Sydney Heads was the site of the first ‘forced landing’ of British passengers, some 750 convicts, in 1788.

Possessing attributes which make the artwork highly desirable and different from most surviving examples of these fine works, the puffed sails are extremely nice to have. Signed works of this nature are very rare, and the embroidered title and known headlands are a plus. The scenes detailed look at the cliffs, and the nautical activity at sea and shore add value, too.

The ship flies the British Red Ensign, and was built in 1884 by Robert Napier of Glasgow for the Aberdeen Line. Her steam/sail rig provided versatility while she demanded a substantial amount of coal fuel, now that stations along the route were being stocked for the Southern Hemisphere voyages.

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Sailors Woolwork of a Steam Sail Ship with Cliffs

This fine sailors woodwork shows a three masted steam-sail ship along the English coast. This British merchant ship is configured for maximum speed, with sails aloft and steam billowing from her funnel. Behind white chalk cliffs sits a patchwork of farm fields and houses, evoking English pastoral life which depended on merchant vessels such as this one to carry their goods across the sea.

Unusually tight, crisp detail and fine workmanship is present, including three dimensional stitching on the sails and bead detail for the cannons and at the top of the masts. A fine period rosewood frame completes this excellent example of the sailor art form.

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Sailors Woolwork Picture of a British Frigate


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Trinity House Box, British Steam-Sail Ship With Lighthouse Off The Bow

Replaced shelf inside. Crushed blue velvet lined.

Trinity House was the name for the light house service in Great Britain. These exquisite boxes were made circa 1850- 1880 by the keepers of the lighthouses and lightships while they were on station. They are delicately inlaid with several types of wood and usually feature accurate pictures of vessels from the period. They were marketed directly to the sailing captains and owners of the ships they aided. Fine inlaid woodwork is a telltale attribute of their learned craft, with parquetry and marquetry examples in existence. The Trinity House Box, for letter writing, sewing, and tea storage are very desired.

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Very Large Sailors Double Valentine 14 Inches High SOLD

More information to follow.

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Early Cribbage Board of Hardwood
Sliding compartment at bottom rear, with two pegs. Very nice early gaming device. From a Dsrtmouth, Mass. family collection in 1973.


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Napoleonic Prisoner Of War Bone Automated Spinning Jenny

More information to follow.

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Napoleonic Prisoner Of War Bone Automation - Spinning Jenny

More information to follow.

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Napoleonic Prisoner Of War Cribbage Board with Domino Set

Dimensions: 9 3/4 inches long x 5 1/4 inches wide x 2 1/4 inches high.

Is lacking 1/2 of a lid.


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Napoleonic Prisoner Of War Straw Inlay Box SOLD

More information to follow.

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Rare Dark Brown Glass Rolling Pin

Rolling pins of blown glass were a token of fidelity and a kind of talisman made or, more often, purchased by sailors to remind a girl of her fiance or husband sailing on the high seas. They were often decorated with portraits of ships and rhymes.

This unusual, very thick pin in dark brown glass is one of the rare sailor made examples. Hand etched are the words, "Look Out For Squalls - Jack 1847". A hand points to the words to give emphasis, and the rest of the pin is covered all over with a variety of images: a steam-sail sidewheeler, a brig at sail, a sloop within what appears to be a larger ship's hull, the Union Jack, a signal flag, birds and decorative flourishes. In excellent condition.

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REMEMBER ME, Sailor's Commemorative Glass Rolling Pin

Rolling pins of blown glass were a token of fidelity and a kind of talisman which was to remind a girl of her fiance or husband sailing on the high seas. They were often decorated with portraits of ships and rhymes.

This milk white glass pin with colorful decoration reads, "Ashore, your Jack's Safe Return to His True Love", with two additional painted verse stencils and a Clipper Ship.


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Double-Pane Sailor Valentine SOLD

The great majority of these unusual and sought after nautical artifacts were made by locals in the Caribbean Islands as trade and sale items for the visiting mariners of the world. This dual set is a very good example of the delicate geometry and precision work they required to show as finished presentation. The 'Valentine' designation comes with the aside that they were often purchased as gifts for loved ones back in home ports.

The dual shellwork valentine in this instance is housed in its original wooden octagonal frame set that is hinged to allow it to close together or hang on the wall.

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Napoleonic Prisoner Of War Bone Automated Spinning Jenny

More information to follow.

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Napoleonic Prisoner Of War Straw Box


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Prisoner Of War Straw Box

More information to follow.

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Sailing Barque & Steam Sail Ship in Bottle SOLD
An exceptional ships-in-bottle, with a rigged barque running parallel to a steam/sail ship along a harbor walkway. Beyond the walk, two-story building compete for sky space with palm tress, suggesting the location as the French Riviera.

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Sailors Art Diorama Full Rigged Ship LADY ELIZABETH

Painted background with lighthouse, seagulls, sailboats and a sidewheel steamer.


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Ship In A Bottle With Tugboat Hauling A Brigintine. Also a Sloop Under Full Sail And A Shore Scene With Lighthouse

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Trinity Lighthouse Box - Top Inlaid With British Naval Vessel, Schooner and Lighthouse on Shore.

Artifacts made by British Lighthouse Keepers were marketed directly to the sailing captains and owners of the ships they aided. Fine inlaid woodwork is a telltale attribute of their learned craft, with parquetry and marquetry examples in existence. The Trinity House Box, for letter writing, sewing, and tea storage are very desired, as well as the uniquely stylized tables and ship models members of the service built.

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Full Rigged Ship JANE

More information to follow.


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Whaleman Carved White Holly Wood Busk
Inscribed "M.A. Jones", with portrait of a man and stars.

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Folk Pin Cushion with Wood Base and Whalebone, Red Velvet Cushion

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Sailors Woolwork With Two Ships


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Sailors Woolwork H.M.S. ICARUS-Think Of Me

More information to follow.

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Sailors Woolwork with Ship, Florals and Photographs

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1905 Battle of Trafalgar Centenary Plaque

This copper plaque mounted on lacquered pine, was made to mark the 100 year anniversary of Admiral Lord Horatio Nelson's final and greatest victory at the Battle of Trafalgar.

By the time this centenary was celebrated in 1905, Nelson's flagship HMS VICTORY was already being preserved at Portsmouth Naval Yard as both a national treasure and as the flagship for the Commander-in-Chief of the Royal Navy, a title she retains to this day as the oldest commissioned warship in the world. The title is largely ceremonial; to preserve the ship, launched in 1765, she is in permanent dry dock.

In 1903, VICTORY was accidentally rammed at Portsmouth, requiring extensive repairs to prepare for the Trafalgar centenary celebrations in 1905. As a result, some of her over 4,000 sheets of copper hull sheeting were recycled into souvenirs for the centenary celebrations. Markings on this plaque reveal that this was one such artifact.

The plaque has a large anchor, with rope medallion containing an image of the HMS VICTORY at sea, and is marked for King Edward VII, the reigning monarch at the time. The plaque reads:

Nelson's Victory
Presented by the British & Foreign Sailor's Society.
Containing Victory Copper from the Lords of Admiralty.
England Expects That Every Man Will Do His Duty
October 21, 1805 - October 21, 1905
Centenary Memento, ERVII


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19th Century Bald Eagle American Yacht Tiller Arm

This finely carved mahogany and brass tiller arm would have been used to steer one of the great American yachts of the period. This is of a size and quality as those found on the America's Cup schooners like AMERICA and COLUMBIA.

The striking head of a bald eagle sits above the brass collar which would have been used as a grip. The eagle's eyes are set in a fierce expression and his mouth sits open to show the sharp curves of his beak. The arm curves up gracefully into a column motif and then sweeps down with the final section adorned by a large stylized leaf shape, perhaps that of a stylized olive branch. Each section is deeply carved with excellent detail and decorative touches.

The arm has been French polished to bring out the deep, rich patina in the wood, a process which took an expert more than a week to complete. The last three photos included here show the arm before it was polished.

One of the finest tiller arms we have ever seen, this is a unique example of the work of a 19th century master of ship carving.

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A. Schraders Son US Navy Dive Helmet

Marked on nameplate with serial #1234, A. Schrader's Son, Inc., Manufacturers of Divers Apparatus, Brooklyn, N.Y." In excellent condition with a nice patina. Three wingnuts are missing, but the helmet is otherwise complete.

One of the rear valves bears the U.S. Navy Anchor Inspection stamp, indicating that it was owned and used by the US Navy. Below the inspection mark, on the same valve is another instance of the maker's mark, SCHRADER USA.

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A.J. Morse & Sons Dive Helmet

This nice, early commercial diving helmet bears two plaques: the maker's plaque- "A.J. Morse & Son, Inc., Boston, Mass." and beneath it the distributor's plaque, "Supplied by Mussens Limited Agents, Montreal, Canada".

The helmet is in excellent condition with a nice patina, very clean and complete.

The helmet bears matching serial numbers 1846 on the front and rear brails, and on the bonnet and breastplate. The front and rear brails are also stamped with additional maker's marks, "A.J. Morse & Son, Boston". Interestingly there are additional hand tooled marks on the brail the diver must have added for his own reference: RF, LF, RR and LR for right front, left front, right rear and left rear.


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American Woman Ship's Carved Figurehead

A finely detailed carved wood figurehead, diminutive with classic features, the origin of this womanly ship icon is American. Telltale clues include that her regency-style, just-above-the-shoulder dress sleeves that “poof” and the modest neckline, especially when matched to the upswept, comb-held, coiled hairstyle and carved oval earrings. All these fashion elements are suggestive of American fashion, circa 1820s. The leading figurehead historian England and a distinguished maritime museum curator in America both concur.

Properly attired, she looks quite reserved. Set on a carved plinth with a geometric pattern and rolling scroll, it blends into a sash-ribbon tied around her torso. The detail of the hair tightly bound in an upswept coiled bun. Prim and poised, the woman figure is fairly vertical in position, indicating an installation on a smaller vessel, possibly the bow of a schooner or small brig from the first quarter of the 19th Century. It has the correct wood plugs to have been properly mounted. The simple white paint with the sea-foam green dress is most likely very close to her original color and just freshened up a bit over time.

It is recorded that the piece was salvaged from a sailing vessel that broke up in Stomness on Orkney in the 19th Century, and entered a British collection and passed through the family for three generations before being sold. It is a classic American ship’s figurehead of a quality, type and size seldom found.

A full report on this antique, carved figurehead by leading figurehead historian Richard Hunter of England is available.

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Bronze New England Darting Whaling Harpoon

This bronze whaling harpoon is similar in style to the Provincetown Toggle Harpoon, though without the toggle action, so it may have been a precursor in design. With its smaller head and narrow shaft it was likely used to hunt smaller Cetaceans like Pilot Whales.

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Bronze Ship's Bell from the Steel Steamer Yarmouth of 1887 SOLD

This fine bronze bell once graced the Steel Steamer Yarmouth, of Nova Scotia, Canada. With an excellent verdigris patina to the bronze, the bell retains a strong, resonant tone when struck. Marked "YARMOUTH 1887"; with the smaller foundry mark of "J.M. Broomall" across the top.

Built by Archibald McMillan & Son, Dumbarton-on-the-Clyde, Glasgow, the Steel Steamer Yarmouth measured 220 feet long p/p with a 35 foot beam, traveling at a speed of 14 knots. Designed specifically to ferry passengers and goods for the Yarmouth Steamship Company, at the time she was launched in May of 1887 she was the finest steamship to ply the routes between the United States and Eastern Canada.

The Yarmouth Steamship Company (YMC) brought reliable transportation between New England and Nova Scotia and the Bay of Fundy with sailings between Yarmouth and Boston, Halifax and St. John. Started as the Yarmouth Line in 1885 the ships were at first just a way for its owner, L.E. Baker, to support his existing import and mercantile business. By 1887, when the YMC was established, the routes were key to transportation and commerce in the region with the YMC not only bringing tourists to the province but eventually building hotels and other developments at ports of call along with creating rail connections with their ships.

The photo of the ship at dock is the SS Yarmouth in Nova Scotia and the second image is of an advertisement for the Yarmouth line steamships. These images are shown for historical reference and are not included.


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Cased Pair Flintlock Target Dueling Pistols by Collins of London

An excellently made pair of cased 54 caliber flintlock target or dueling pistols by James Collins of London. The barrels have a brown Damascus finish with great dark patina.The exotic wood stocks are particularly well grained with the craftsman taking obvious care in selecting the wood for the areas which would remain unadorned. The silver accents are very well engraved, with tight scrollwork especially on the lockplates and on the underside of the gun which include flourishes with botanical and architectural motifs.

Both barrels marked with maker's name and address on the top: Collins, 12 Vigo Lane, Regent Street, London" and again "Collins" on each lockplate. The guns and accessories are housed in their original mahogany case lined with green felt. The unique brass and red leather powder flask has a small compartment in the bottom for flints. Brass accents on the case include a monogrammed disc in the center, with initials A.M.D. Whomever owned these pistols clearly used and valued them, as the case has the kind of warm patina that wood achieves with age and after much use and years of polishing.

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Draeger Dive Helmet, DM40 No. 3247

A mid-20th Century Diving Helmet from the Draeger Company of West Germany, they are still among the world leaders in diving apparatus, and other fields requiring respiration devices. This classic diving lid is very clean and polished, despite its obvious heavy use. It has the top-mounted carrying handle that Draeger added to their lids from the beginning in the late 19th Century.

The company emblem is pressed in the front breastplate, and the helmet fixtures include the telephone connection, air intake and air exhaust.

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Dutch Log Timer Tobacco Box

This copper and brass tobacco box features a perpetual calendar on the lid and is marked with a date of 1764. There are two portraits on the face, potentially of Julius Caesar and Pope Gregory to commemorate the Julian and reformed Gregorian calendars.

On the reverse there is another portrait, this time an explorer pointing to a spot on a globe. Given the marked date of 1497 this could be Amerigo Vespucci. Below the portrait is a speed table used to calculate speed in the water. A chip of wood was tossed over the side of a vessel from a set station that carried a mark down the side of the ship. The sailor would then count rhythmically until the chip reached a second mark on the side. Because the distance between the marks was a known constant this allowed them to calculate their speed. The system was originally designed by Pieter Holm who ran a navigation school in Amsterdam.

The last image seen here is taken from the book, "Decorative Arts of the Mariner" by Gervis Frere-Cook, showing a log timer similar to this one.


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Early Cased Pair of Percussion Dueling Pistols by Durs Egg of London

An extremely fine pair of cased dueling pistols, this set made by Durs Egg of London is covered over in artisanal touches and top quality workmanship.

The 54 caliber guns feature octagonal barrels with a rich Damascene finish and excellent original patination. The silver-plated lockplate is covered over in scrollwork with decorative edging which continues up to the hammers, the very top of which are engraved to look like leaping fish. Well grained rosewood stocks are capped at the butts in silver, with fine leaf and flourish engraving surrounded by braid motifs on the sides. Scrollwork continues up the trigger guard, finishing on the underside of the gun with a particularly detailed shell motif. Even the thin muzzle bears fine leaf engraving, and all the large screws on the guns are engraved with flowers.

Both guns are signed on the top of their barrels “D. Egg, 4 Pall Mall, London” and “D. Egg” on both lockplates. This is the work of one of the premier firearm makers of his age, Ursus Christian Egg, known as Durs Egg. Egg moved from his native Switzerland to set up his gun works in London in 1772, the hub of gun manufacture and innovation at the time. During his career he was a gun maker to British Royalty, including King George III, George IV and the Prince of Wales.

The guns, tools and accessories, including 10 lead balls, are set in their original green velvet-lined mahogany case with brass details including corners, escutcheon and latches. Concentric brass circles, one raised and the other inset, both with toothed-rim detail, adorn the top of the box. The inside of the box bears the original Durs Egg label.

Given the high level of embellishment and excellent condition of these pistols they were clearly made for a person of worth who valued them highly.

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English Flintlock Brass Barrel Railgun Blunderbuss

A rare-type brass barrel set in hard English oak, this Blunderbuss Swivel Railgun carries Birmingham proof marks, and has the Tower of London symbol and the royal cypher of King George III on the lockplate. The 25 inch brass barrel flares at the muzzleto slightly more than 3 inches, and a heavy brass butt plate terminates the stock. The Tower Armory record for the period lists a reserve weapons inventory that counted "2,000 musquetoons", which counted smaller blunderbuss, dragoons, and railguns.

The weapon would have been issued to a naval vessel, and installed to hold a prominent guard position on the rail, either along the main deck or possibly even stationed overhead on a fighting platform. The firearm is secured on an original iron yoke, set into a display wood block. This is an exceptional firearm with an imposing presence and deadly function.

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English Two Inch Bore Bronze Naval Cannon

As the 1700's began, most cannons were made to whatever design their foundry favored, with the only common standard being the caliber of projectiles, resulting in a huge variety of styles with different weights, ranges, and ordinance- and with varying degrees of reliability. In 1716, England's forces were among many armies of the day who began efforts to standardize the manufacture of their artillery. Under the British Board of Ordnance, a central engineer or "Surveyor General" was appointed to create specifications or patterns under which all British Military cannon were made, allowing any foundry to turn out near-identical weapons.

This cannon is made in the Armstrong-Frederick Pattern style, made for the British Navy from 1753-1794. John Armstrong was the second Surveyor General, appointed in 1722. By 1725 he created the first comprehensive specifications for cannon manufacture- complex proportions which governed the dimensions of every section. Armstrong's successor, Charles Frederick, made some small modifications to the design in 1753, and cannons made from the new pattern bearing both their names were made for nearly 40 more years. Considered a successful and durable design, cannons like this one would have been used aboard British vessels during the American Revolutionary War.

Their design was striking- rather than narrowing gradually down the tube, this cannon has unusual step downs in tube diameter between the first and second reinforce and again at the chase, with concentric reinforce rings between each section, before widening out again at the muzzle. At the other end the first reinforce includes a vent, and beyond it, the base ring has the maker's mark-“GILKS, WILSON, & CO., TOWER HILL, LONDON” aka C.H. Gilks & Co., Gunmakers and Ships’ Ironmongers, No. 3 Union Row, Little Tower Hill, London.

In very good condition, this cannon has a very rich, deep bronze patina on the tube and a clear, smooth bore. It is extremely rare to find a cannon of this age with their original carriages; this cannon's original Naval-style stepped carriage is sound and includes bronze and iron hardware, also with good patina. A very rare combination of factors makes this cannon desirable both to the maritime and cannon collector.

Tube: 34 Inches including Cascabel


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European Hat Box for a Bicorne Hat

Though mostly associated with Napoleon, the Bicorne hat was used as a common military and naval headpiece throughout Europe and America, coming into wide use from about 1790 until 1910. This tin box includes its original brass label with the owner's name M. Keane. A fine case to keep one's dress military hat in good shape while not being worn.

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French Brass Speaking Trumpet

A great historical brass lacquered speaking trumpet with fine engraving and decorative detail. The markings indicate this was handed down through multiple ship captains and carried on many ships. The center is engraved with a large monogram, "G.A." surrounded by olive branches with ribbon motif around which are engraved likely ports of call on the left: Bogota, Pisco, Madras, Tag'e and on the other side what are likely additional ship names. Below this is another smaller pair of initials, "C.F."

In and around the central engraving there are the names of 14 vessels with dates throughout the piece. Engraved in a variety of font styles each which likely represented the fashion of the day or preference of the captain, this is a unique and personal artifact of seafaring life.

Vessel Names
CECILE, 1825
GANGE, 1861
ECLAIR, 1866
VILLE DE MALAGA, date unclear

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High Quality British Naval Sword with Scabbard

A British Naval sword of high quality, likely belonging to a high ranking officer. The handle is bone with silver plate and features a lion's head on the pommel. The guard or branch features a rope and anchor motif. The sword includes its leather and silver scabbard, including a band with an image of Brittania in a traditional pose, seated on her shield embossed with the Union Jack


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Large Iron Armada Chest, 17th Century Strong Box

An excellent example of an actual “treasure chest” from the 17th century, this heavy iron strong box possesses artistic touches and fine patina which enrich its presence. Made of the heaviest iron construction by European craftsmen, these chests were sold to the sailing nations, including Spain, Portugal, the Netherlands and England. Used to transport and secure gold, silver, documents and other valuables, once loaded and locked, this chest would have been incredibly difficult to move.

A striking green exterior is topped by strapping and bolts in dark bronze, with small touches of other remaining paint details which once must have covered the chest. An elaborate Gothic escutcheon sits on the face, luring potential thieves to waste time on the false lock it decorates. On either side are large vertical iron hasps which would allow for two additional padlocks. The real lock sits hidden under an iron swivel plate in the center of the lid. A turn of the large key releases the ten bolt mechanism which is the chest's primary security. Heavy twisted iron beckets at each end had to have been hand-forged by a master iron smith.

The interior of the chest holds another locked compartment for items of even greater value. Unfortunately we do not have a key for this compartment, so it remains unopened. The interior locking mechanism is covered by an intricate scroll-cut panel that features mermaids on either side with two sea monsters back to back in the center, their tails entwining in great swirls. Once a portable safe, this box is now itself a treasure.

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Late 18th Century Carved Figurehead of a 17th Century British Admiral

An impressive carved presence that we believe was once the namesake representative of a warship and a British Naval Officer whose memory and career it celebrates. Dressed in an ascot and waist coat with floral designs and buttons, his majestic long wig of curled ringlets is predominant, accented with his facial goatee and moustache. Serious effort has gone into the carving of this male figure, and fine, trace amounts of old paint and primer are evident with the majority of the surface having been stripped back to the natural grain of aged pine wood. The back is flush-flat, with the evident mount bolt-hole. This early, upright style of a figurehead would have been bracketed by the billets of a fighting ship prow at the bow stem.

There are several early British Admirals who the figurehead may possibly represent, but in our researched opinion, he looks very much like 17th Century British Admiral Thomas Teddeman, who won his greatest naval accolades in the Anglo-Spanish War of 1660 and against the Dutch in the Battle of Lowestoft in 1665, as the Rear-Admiral of the Blue from his flagship H.M.S. ROYAL KATHERINE. He was knighted on July 30, 1665. As Admiral Teddeman or another contemporary of his, it is still a rare original carved British Figurehead of a type collected worldwide.

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Miller Dunn Shallow Water Diving Helmet with weights

A quality shallow-water diving helmet in excellent condition with weights. The four-light 'DIVINHOOD' with a top carrying handle and company name plates was produced by the Miller-Dunn Company of Miami, Florida, circa 1935, for the United States Navy and other users. This is their Style 3 model.

25 Inches High x 12 Inches Wide x 12 Inches Deep.


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Morse Shallow Water Dive Helmet and Bronze Pump

This Morse Shallow Water Dive Helmet and the pump were used by the Warwick, Rhode Island Fire Department to teach diving to the officers.

The tag and style on both pieces place the date of manufacture from the mid-1920's to the early 1940's when the Morse company name was changed.

The pump also bears the A.J. Morse & Sons Plaque. Besides the wood handle the pump is all bronze.

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Rare Chinese Bronze Rifled Howitzer SOLD

Li Hongzhang was an important figure in the Chinese Imperial Court, its government and its military throughout his over 50 years in public service from the mid to late 19th century. A driving force in modernizing China’s military, he raised his own armies, suppressed several rebellions including those espousing anti-foreigner sentiments, effected a coup d’état upon the death of the Tongzhi emperor, putting a child on the throne and power into the hands of two empresses one of which was the notorious Dowager Empress Cixi. In later life he became a Superintendent of Trade and effectively created China’s foreign policy. He traveled widely on diplomatic missions to Russia, Europe, Japan, Canada and the United States and was even made a Knight of the Grand Cross by Queen Victoria while in England.

In the early 1800’s the Opium Wars marked a turning point in China’s history and its relationship to foreign states. Despite greater numbers, the Chinese military, using outdated ships and weapons, were no match for the western forces. Quick defeats were followed by painful concessions for China in the resulting treaties.

Afterward China instituted a period of military reform and reorganization. Called the “Self-Strengthening Movement”, c.1861-95, it strove to integrate foreign military expertise and technology into China’s defense, making it more resistant to outside invasion. There was a focus on shipbuilding and the creation of arsenals stocked with artillery, rifles and other munitions. Preferring to create their own military industry, they brought in European experts and contractors so their own people could learn to build the ships and arms themselves, though rampant corruption made this a somewhat uneven effort. In this period several arsenals were created across China, including the Jinling arsenal, where this fine bronze cannon was cast in August of 1870.

The cannon is inscribed on the top of the tube, and on the end of each trunnion. On the left trunnion it reads, “Tongzhi Emperor’s 9th year, August” Tongzhi reigned as Emperor from 1861-1875, the 9th year being 1870. On the right, “Cannon manufactured in Jinling (Nanjing) under the (Imperial) Cast-Mold Bureau.” The main inscription on the tube of the cannon lists the honors and titles of Li Hongzhang including his post at the time of the cannon’s manufacture, Viceroy of Zhili, hugely influential because at that time it oversaw not only modern day Hebei province but also the capitol Beijing and major port city Tianjin. Historians say that the person holding this office was the most honorable and powerful among the viceroys and Li held this post for more than 25 years, at the height of this career.

It somewhat ironic then that this cannon, so dedicated to Li, would be captured in the Boxer Rebellion. The Boxers were a Chinese nationalist militia opposed to foreign imperialism, influence and Christian missionary activity. Violence began in 1899; spurred by severe drought and the perceived growth of foreign interference in Chinese affairs of state. Starting with small attacks against foreigners in northern China, the Boxers eventually converged on Beijing seeking the extermination of all foreign persons and Chinese Christians for the good of the Qing Empire. Foreigners took refuge in Beijing’s diplomatic or “Legation” quarter. Besieged, but protected by their own small military forces, they were effectively imprisoned within its streets.

Initially hesitant to support the Boxers, the Empress, known for strong anti-foreign beliefs, eventually gave official support to their actions, declaring war against all foreign powers on June 21, 1900. As a response, countries with interest and citizens in China formed a military coalition which became known as the Eight Nation Alliance, together sending 20,000 troops to lift the siege.

Chinese officials were split between those supporting the Boxers and those favoring conciliation and Li was in the latter camp, believing that the Qing Dynasty’s use of the Boxers to repel foreigners from the country was a grave mistake. He refused the Empress’ declaration of war as invalid, manipulated military communications, and ignored orders to send reinforcements. During the siege and afterward, Li had full diplomatic power to negotiate with the Eight Nation Alliance, eventually signing the treaty which would bring the rebellion to an end, but at high cost to his country in indemnities. This cannon, bearing his name and titles, would be just a small part of the war prizes.

This rifled howitzer was made to shoot studded shells of the “La Hite” system, developed by Antoine Treville de Beaulieu in 1858 and an inert, original “Le Hite” shell is included with the cannon. A brass breech sign bracket is attached with four bolts and numbered “208”. A small iron blade is embedded in the rimbase above the right trunnion. In very good condition, markings are all legible and the bore is clean and clear.

This is the second of two known cannons of this type. The other is in the collection of the Beijing Military Museum, China. One of the photos on this page is a period image of the Nanjing Jinling arsenal, which shows this cannon or one like it on the ground, in the center of the image, near the bottom.

In excellent condition, with all marks legible and weighing 275 lbs. with a 3.8" Bore

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Rare Complete English 1 lb Naval Iron Rail Cannon SOLD

Rarely do early example 19th century iron cannons survive in such beautiful condition. This 30 inch English swivel gun, circa 1800, is the exception.

The surface has an iron patina and retains an original cast yoke and tiller. Part of what makes this cannon unique is its unusually short tiller arm.

For a cannon of this time period, the original cast yoke is in the finest condition. It is mounted on a later base.

The barrel contains a raised crown, the letter “L” and a clearly visible maker’s mark: TB&S.

Length: 30 Inches Overall. Trunnion to Trunnion: 8 Inches. Cannon Height: 13 1/2 Inches Tall (including Yoke.) Wooden base: 26 Inches Long and 8 1/2 Inches Tall. Overall Height, Including Base: 22 Inches


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Rare Enoch Hidden New York Salute Cannon

Rare signed brass yacht salute cannon by American manufacturer, Enoch Hidden. It is totally complete and original. The cannon is marked on the trunnion with the maker name and address: “E.S. HIDDEN / COR AV.C & 12 ST / NY.” The carriage is solid and includes the original hardware. In outstanding condition. Circa 1850s.

The cannon is polished and lacquered and has an unusual, fully functional, percussion hammer that was operated by a lanyard. Percussion hammers of this type were perfected and patented by Enoch Hidden in 1842. Hidden developed the hammers from an earlier, 1831 design. As early as 1813, he was making cannon locks from flint. Hidden’s early locks were used on the “USS President” in 1814.

Hidden manufactured his locks and sold them to the U.S. Army and Navy. They have a unique pulley and wheel system that goes off with striking force. A superb article on the subject, titled “Enoch Hidden and His Cannon Locks” was written by Fred Gaede and appears in in “Arms Collecting,” Vol. 36, No 4.

Tube is 19 Inches Long. Length is Approximately 27 Inches Overall. Cannon is 14 Inches Wide Overall. 16 Inches Tall Overall. Bore is 1 1/4 Inches Wide. Weight is 56 1/2 Pounds.

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Rare French Naval Bronze 1 lb Cannon SOLD

The small French town of Creusot in Saone-et-Loire, Burgundy was well known for rich natural resources but these remained untapped until 1782 when the French Crown selected the city as the site of a "Fonderie Royal". By 1788, this Royal Foundry had finished their first cast iron cannons, and each was crucial to the French Navy then outgunned by the formidable British.

By the time this fine bronze three stage cannon was completed in 1794, the factory at Creusot was one of the most important industrial manufacturers of the age, though few surviving examples of their cannon are found today. Even rarer is this particular model, a 1786 Pierrier. In addition to its date of manufacture, the cannon is also marked "Ramus Au Creusot", for the director of the foundry during this period, M. Ramus.

This cannon's greatest and most familiar inscription however, is the large “Egalite, Liberte” (Equality, Liberty) with fine decorative border emblazoned in large script letters on the first reinforce. During the 18th Century the words Liberté and Égalité were commonly linked as Revolutionary slogans but the French National Motto we know today with "Fraternité" as the third pillar wasn't formally adopted until 1848.

From the foundry this cannon became one of 74 guns on the newly launched French Téméraire-class ship-of-the-line BARRA, a ship soon after renamed Pégase in 1795, and in 1797 becoming the HOCHE. On September 16th, 1798 the HOCHE set sail from Brest as Flagship of a military expedition in support of the Irish Rebellion against the British (Irish Rebellion of 1798) seeking an Irish independent state. Under the command of Commodore Jean-Baptiste-Francois Bompart, the fleet consisted of HOCHE along with eight frigates carrying a total of 3,000 soldiers, bound for County Donegal, near Lough Swilly, in Ulster. HOCHE also carried the most important figure to the rebellion, Wolfe Tone, leader of the Society of United Irishmen.

They were pursued by British ships almost from the start, shaking off a squad of British frigates only to be chased soon after by a larger British fleet under the command of Commodore Sir John Borlase Warren. Racing across the channel, both fleets encountered heavy winds and rains, and HOCHE lost all three of her topmasts and had her mizzensail shredded, allowing the British to come ever closer. On October 12, 1798 the British fleet caught the HOCHE and engaged her in battle just nine miles from County Donegal, near Tory Island.

HOCHE immediately came under heavy fire from multiple ships, standing alone when her supporting frigates attempted to flee to the southwest. Within a few hours, the battle was over. With the HOCHE heavily damaged and most of his crew and passengers killed or wounded, Bompart surrendered never having reached the shore, and once they were boarded Wolfe Tone was recognized and captured. Tone was tried and condemned. With Tone caught and the French reinforcements gone, the rebellion was finished. Tone’s influence however, would live on. His writings and actions would inspire generations afterward to fight for an independent Ireland and he is still honored there to this day.

Now captured, the HOCHE would rise again as a ship in the British Navy. She underwent a complete refit and was recommissioned the HMS DONEGAL, in tribute to Tone as a valiant foe. The ship would go on to a long and illustrious career fighting mainly French and Spanish ships in the Napoleonic Wars. She was part of Admiral Lord Nelson’s fleet which chased Franco-Spanish forces to the West Indies and back, hoping to engage them in battle. She was part of the British effort to finish the Battle of Trafalgar in 1805, chasing and capturing the fleeing Spanish ship RAYO. Through many more battles and another refit she was used as a flagship through the 1830’s and was decommissioned in 1845.

In very good condition this cannon’s rich history compliments its fine appearance. The rich dark green patina is excellent and even across the piece. The tube is mounted on a period naval step carriage with wood wheels, which are sturdy and sound.

Included with the cannon are various documents including a confirmation of sale from Holland and Holland in 1981 and an article on cannon manufacture in the period, including details on this model, the 1786 Pierrier.

Length: 42" Overall on Carriage, Tube: 40 Inches Overall, 2 Inch Bore.

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Rare Large Figurehead from a Full Rigged Ship

An impressively large, well carved 19th Century figurehead, this figure was in service during the most important Age of Sail, the 19th Century era of the Clipper Ships. This artifact has the large size and proper positioning of the plugs to have been the centerpiece of the bow on one of the great ships.

Clearly a Scotsman in full Highland gear, this figure likely graced the bow of a clipper built on the Clyde River, near Glasgow. By the mid-1700’s Glasgow had become one of the most important port cities in England, mainly for tobacco from the American Colonies. With the outbreak of the American War of Independence the tobacco trade collapsed, and shipbuilding was established to replace the trade and revenue lost to war.

It was a perfect and timely turn of events. Scottish engineering expertise was already famous worldwide, Glasgow was a bustling trade port and decades of progress improving the Clyde’s shipping channel near Glasgow made setting up shipyards on the riverbanks an easy choice. By the 1800’s the Clyde had a reputation for being the best location for shipbuilding in the British Empire, and grew to become the world's pre-eminent shipbuilding center. “Clydebuilt” was a mark of the finest ships to sail.

What better to grace the bows of Scotland’s prized ships, than the heroes of her past- bringing the pride of Scotland wherever her ships sailed. From the tartan on his kilt and hose, we believe this figure to be Rob Roy MacGregor (1671-1734). Though not normally a MacGregor tartan, this was the plaid Rob Roy wore in all portraits done during his lifetime, and it was thereafter named for him.

Sometimes called Scotland’s Robin Hood, Rob Roy was known for brave exploits against what many Scots felt was tyrannical and unjust British rule. A known Jacobite, he participated in early rebellions to restore the House of Stuart to the throne of Scotland.

Rob Roy was famous in his own time, but he skyrocketed to legend in 1812 when author Sir Walter Scott published the somewhat fictionalized biography “Rob Roy”. The book was popular for decades, and likely inspired the carver who created this figurehead. His kilt, hose and sporran are long tradition, but the dark blue jacket, waistcoat, wide collar shirt with Ruche Tie and Glengarry Bonnet with Cockade rosette and trailing ribbons were the height of style in the 1850’s. It’s this high attention to every detail of the complex Highland clothing of nobility that shows how important this figurehead was to its builders and ship.

Each curve of this figure gives the impression of power and grace. His face is strong, raised high and looking up, with curling hair and mutton chop beard. His kilt is swept back in folds, as he steps forward in action. Fine carving gives lifelike detail on every part of this figurehead, from the tufts of fur on the sporran to the creases in his waistcoat, wrinkling like real cloth as he stretches out to point skyward. With excellent proportion throughout, this is a skilled portrait of a man at the height of his strength. Assured and commanding, this is a leader.

The raised right arm was made to be removed, a practical feature when rough seas could easily snap off the outstretched limb. The arm would have been reattached when entering a port or at anchor. Included is the sturdy iron stand to which this 850lb. figure can be attached so that it stands at the same angle as it would have been seen on its ship.

In great condition, with no rot, this figure has many rare touches of its original paint. Full sized figureheads of this quality and size are amongst the rarest of marine artifacts. His years of service at sea have only added to his dignified and imposing appearance. One of the finest figureheads we have offered.


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Scrimshaw of a Fashionably Dressed Lady

Carved on both sides with portraits of ladies in fashionable dress. It appears that this tooth came from Fiji and was once a Fiji Tamboa- highly prized among the natives and worn by those of importance. The tooth is nicely carved and shows great patina.

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Silver Plated Presentation Land Hailer

This lacquered silver plate presentation land hailer is engraved, "Presented by a Friend to R. Talbot". Likely American made.

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Swivel Whaling Harpoon Gun with Harpoon SOLD

We are offering a fantastic swivel-mounted harpoon gun matching the dimensions of the earliest Greener guns introduced in 1837, and used for decades beyond as the first truly successful whaling firearms. Such instruments revolutionized the whaling industry at a time when whale ships were sailing farther and longer in search of their targets. These guns saw much use by American and British whalers in the Arctic and Pacific oceans, where the last great herds of grey, sperm and right whales were hunted.

This particular gun, No. 5 of Peterhead, Scotland is one of the earlier swivel whaling harpoons of the Greener style. Original inlaid brass whales on both sides of the stock add to its attraction, as well as the solid brass sight rail with the inscribed marks “Peterhead No. 5", now partially indiscernible. A brass shroud covers the large single percussion hammer that strikes double cap posts, accenting the heavy iron barrel. The artifact is complete with a rare, double-flanged split-shaft iron harpoon with a ring grommet. The harpoon head is sharply barbed with the intent to keep the massive dart imbedded in its prey. It is further completed with its original iron yoke.

The harpoon gun would be mounted to the bow of a working whale boat, and a rope line attached to the metal sliding ring set in the split-shank harpoon, and the rope would be tied to the craft at the other end. The gun made catches possible which had escaped the whalemen of earlier ages, with its range of up to 84 yards, and capable of firing over the obstacle of solid ice in the Arctic. Large grain gunpowder would be used for the percussion cap weapon to ensure a slower, steady burn, giving a smoother flight for the harpoon, especially in calm lagoons and shallows. A significant historic artifact instrument from the heart and height of 19th Century whaling.


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Trinity Sewing Box with Three Masted Ship

In outstanding condition, this sewing box was made by British Lighthouse keepers of the Trinity Lighthouse Service and were marketed directly to the sailing captains and owners of the ships they aided.

With a name plaque marked, "Marjorie", a heart shaped escutcheon and detailed inlays, this box was likely a gift to fine lady to use as her sewing box. The wood displays subtle coloration throughout and excellent workmanship. The inside papers retain their blue color with gold decoration. Includes the original key.

Six compartments, each with decorated lid with bone handle, surround a central black velvet pincushion. The top layer lifts off to access a larger open compartment underneath.

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United States Navy Mark V Diving Helmet SOLD

A Mark V Diving Helmet, in good overall condition, with its four window lights and the communication receptacle. The universal diving helmet became the Mark V style, put into service early and often through the 20th Century. This particular helmet is numbered 1502 and lists as being made circa 1952. The brass Morse plaque is a more modern replacement for the original plaque. A good complete helmet of the popular style.

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US Navy - Miller Dunn Shallow Water Diving Hood Style 3

This WWII era shallow water dive helmet is in excellent condition with original front and back weights. The whole dive helmet has a great patina.


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Very Rare Bronze British Naval Rail Carronade

It’s extremely unusual to find this type of Naval swivel gun in bronze. It has a striking green patina and is mounted on a later Naval style stepped base, that has been painted black. The embossed crown on the barrel is 2 inches tall by 2 ½ inches wide. Circa 1820.

This swivel gun has a loop on the cascabel and its muzzle is tapered. These details are typical of carronades. Instead of a bottom loop, its trunnions are set below the center line of the cannon, in a manner consistent with gunnades. Carronades and gunnades were very effective in ship to ship fighting. These short, sturdy weapons were desirable because they didn’t use much deck space, yet were very formidable in battle. The shots scattered widely causing a lot of destruction.

This cannon was slotted for a gun rack, which is common in military cannons. The gun has a rarely seen mortise for a flint gunlock ignition system. In very good condition overall.

Gun and Carriage are 36 Inches Wide Overall. Height of Gun and Carriage are 22 Inches Overall. Bore is 4 Inches Wide.

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Winchester Brass Presentation Signal Cannon 1976 Edition

In 1975 the Bellmore Johnson Tool Company (then) of Hamden, Connecticut, obtained licensing rights from the Winchester Division of the Olin Corporation to revive production of the Winchester signal cannon after an absence of 17 years. At the time the Bellmore-Johnson Tool Company specialized in the design, engineering and prototyping of firearms. The reissuing of the Winchester Cannon was well received in the firearms community and was featured in two separate articles in the November 1976 issue of Gun World magazine.

This particular model was the first release of the partnership and was timed to commemorate the U.S. Bicentennial. With a solid brass barrel and undercarriage and housed in mahogany storage box with brass plaque and details. The box base is detachable and serves as display stand and firing base.

This is a working signal cannon which can be fired with 10 gauge blanks. Serial number 000648.The top plaque remains blank as it would have come from the factory.

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Bronze Breech-Loading Bronze Whaling Gun by Ebenezer Pierce

Rare American cast bronze Bomb Lance Shoulder Whaling Gun and Projectile Dart. This style of shoulder firing whaling gun would expel an explosive projectile bomb lance. This Ebenezer Pierce designed-gun had improvement such as the dual pin levers to open the breech to load the cartridge and lance, and a hollow at the bottom of the pistol grip that would let a wielder use a support for aiming and firing. Pierce first patented a bronze breech load shoulder gun with Selmar Eggers in 1878, and alone again in 1882, this particular model has no serial number or marking, making it one of the first in production of this second type. Late, Frank E. Brown would take over production of the Pierce Whaling Guns manufacturing, and advertise heavily their superior function.

Having a Pierce Bomb Lance, circa 1879, accompanying this artifact whaling firearm is a big plus, as it is bronze and has the remnant of the feather flights.

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Cased Pair of French Dueling Pistols with Liege Proof Marked Balledent Epernay

A very fine pair of French 54 caliber percussion cap dueling pistols with tools and accessories including several lead balls. In very good condition and housed in their original dark purple velvet lined mahogany case with excellent grain and brass detail. The outside of the case bears the name Combal, and initials P.C.

The guns have very good patination with a Damascene finish on the barrels. One of the guns bears the proof mark of Liege, Belgium or d'épreuves de Liège (ELG). Silver accents on both guns are engraved with flowers and scrollwork, with particularly excellent work under the trigger guard and underside of the gun. Of the accessories, the flask is notable for a scene of a wolf and crane on both sides, likely referring to Aesop's Fable of the same name, where a crane helps a mean and greedy wolf, only to be denied promised payment for the service. Aesop's moral was a warning about expecting rewards for helping those without scruples.

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Iron Armada Strong Box

A stout iron, artisan-blacksmith made "Armada Chest", circa 1690, it includes keys to outer and inner locks. Used by numerous nations, militaries and merchants, these Strong Boxes often were the repositories of the most valuable of possessions, and often had additional padlocks held by other parties so no one person could open.

This specific box has a decorative scroll-cut cover over in locking mechanism on the underside of the lid. There is old paint, a crusty-creamy yellow that someone once long ago thought was a good idea. We're not sure we agree, but it has such age and thickness that we're not considering modifying it. The paint existent on the outside of the chest, a swarthy deep-sea-green, is a plus, accenting the heavy cross-hatched iron construction and forged bolts. These artifact iron chests are highly sought after and accent any historic collection.


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Marquess of Lorne Yacht Figurehead SOLD

An exceptional 19th Century carved, top-quality, rare yacht figurehead with known historic facts and educated speculation all supporting its position as a rare, collectable figurehead of a highland Scotsman. It is recorded as a representation of the Marquess of Lorne, carved circa 1870. It once adorned the bow of a large steam yacht, standing on its traditional forward scroll billet, and was salvaged from a wreck in Cemeas Bay near Anglesey, Wales in the last quarter of the 19th Century.

Of all the artifacts from a ship, it is the figurehead that most profoundly captures the character. Exceptionally carved and styled, the young man is dressed in a traditional Scottish highlander garb from the period, a red jacket, loose undershirt and a kilt with a tartan design closely associated with the Ancient Campbell of Argyle tartan. This makes in all probability that the figure is the Marquess of Lorne, John George Edward Henry Douglas Sutherland Campbell, who became the 9th Duke of Argyle in 1900. A large steam yacht that was named for him and used by him was built in 1874, in Kingston, Ontario, Canada with Scottish engines by David Kinghorn of Glasgow and shipped, along with this carving, we believe. The Marquess was married to Queen Victoria’s daughter, Princess Louise in 1871. In 1878 the Marquess became the governor general of Canada, and held the position until returning to Britain in 1883.

Carved from a large solid timber and not laminated planks, this undoubtedly commissioned carving was performed by a skilled artisan, with the appropriate mounting plug and carved back to meet the stem of the vessel. The artifact is in excellent shape, with levels of old paint and some recent areas of touch-up. He wears a traditional Balmoral bonnet, sash and tartan kilt with the sporran pouch properly trimmed. Artifacts of this age and quality, especially with such known information, are sought after and extremely rare. One of the best we’ve ever seen or had.

Report available by Richard Hunter, Figurehead Historian:

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Rare First-Generation Swivel Whaling Harpoon Gun

A rare and impressive whaling gun from the earliest period of firearm innovation in the fishing industry, this English Whaling Harpoon Gun is a stout and serious instrument that revolutionized whaling. Made by George Wallis of Hull, he is recognized as the first successful maker of the swivel-mounted harpoon gun, circa 1800. The author William Scoresby indicates this period to have been 1772-1792, while other later sources credit the invention to 1800-1815.

When originally made, this Wallis gun had two flintlock hammers that worked off a single trigger, and have long ago been converted to two dual-percussion cap hammers, that would have lanyard triggers threaded out the locks to be fired simultaneously, ensuring the firing of the harpoon. With a full charge, it had an accurate range up to 40 yards. The name Wallis of Hull is on the iron barrel, amongst the heavy aged pitting, deep rust and signs of use under an old remnant of black oil paint. The left brass hammer compartment is marked “SHIP”.

Owning a deadly presence, the gun barrel is a stout 30½ inches in length with a 2½ inch diameter with a 1¾ inch bore, while the overall harpoon gun is 43¼ inches, plus the split-shaft barbed harpoon with ring for line attachment. The English Society of the Arts had paid premiums to whalemen and artisans in the 1790s and early 1800s for those showing innovation and improvement in the use of the guns and harpoons. When William Greener substantially changed the design and powder of this type of harpoon gun in 1837, the new styles became known as Greener guns. This older gun was kept in use during this period, as indicated by its conversion.

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American Ship Figurehead of Lady with Rose Bodice SOLD

A fine American Ship's Figurehead of a lady with cinched waist and rose detail on the bodice. There are fine details throughout including a pocketwatch on a fine linked chain and flowers tucked into her hair. Her face and hair are well carved and coloration remains in several areas including the rose and on other parts of her dress.


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Dive Boots

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English Box Lock Percussion Blunderbuss Pistol

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Extremely Heavy Gauge Brass and Copper Channel Light SOLD

A solid navigation aid, this channel light buoy is of heavy construction with a once-wired electric port. A cast glass Fresnel-style lens sits within, and heavy glass outer panes protect the center light.

This light came to us from a source without a record of its original location, but we strongly believe it was used on the American Southeast Coast. We've coated it with a lacquer to keep it with its polished glow. With some stamped index numbers extent on the metal.


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Heavy Brass American Channel Lamp

A rare heavy brass signaling lamp with red inner lens and glass fresnel outer lens. Marked Interflash Signal Corp., New York, Type LM20A, No. 3236.

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Iron and Brass Line Throwing Cannon by McKeever Daley

This rare Iron and Brass Line Throwing Cannon would have been used in rescues at sea during the early 20th century. The cannon bears two brass maker's plaques, one from McKeever Daley of Baltimore, MD and one from Heat Transfer Products of New York. McKeever Daley line throwers are more rare and desired by collectors.

It's all complete and appears to be in good working order. However, if you want to fire it, we recommend that it first be checked out by a firearms expert for safety.

With a 2.5 Inch bore, the barrel length is 28 Inches. The cannon bears matching serial numbers, A-68, on both plaques. This is the first line throwing cannon we have had with the ramrod included. It has nice accents of polished brass.

West Point graduate David A. Lyle (1845-1937) was the inventor of this type of gun. These guns were used primarily for shore-based rescue operations. The cannon would fire a line to the distressed party and allow for the person to pull themselves back to safety.

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Large Bronze VOC Style Cannon -East Indian Company

Inscription reads: PSEEST:A:1765. - VOC

Correct weight for its size.


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Twin Cylinder Tandem Compound Marine Launch Steam Engine SOLD

This compact British propulsion unit is a full-sized vertical tandem compound steam engine that was used to power a small steam launch at the turn of the last century. It features twin mahogany lagged cylinders with 2.5 x 4.5 inch borse and a stroke of four inches.

Other interesting aspects of this engine include: lever operated Stephenson link motion, balanced crank crosshead-driven air and feed pumps, and a cast disk flywheel with baring holes.

This unit was manufactured by the engineering firm of Simpson and Denisons, Dartmouth, England about 1895. Their Kingdon's Patent maker's plate is atop the engine.

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View of Westpoint, Sunderland Pottery, Cup and Saucer

Size: Saucer: 5 3/8 " wide x 1 1/4" deep- Cup: 4" Wide x 2 3/8" deep.

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1918 USS Lapwing Bell SOLD

Bells have been used for centuries on navy and merchant fleets world-wide. Used to signal, keep time, and sound alarms, they are an important symbol of the US Navy because of their functional and ceremonial uses on ships.

The USS Lapwing (AM-1), was a minesweeper, a type of ship designed to capture or detonate mines. She was named after the lapwing, a bird known for hunting at night, by moonlight and luring predators away from the nest. The earliest minesweepers date back to 1855 in the Crimean War, the first war to use “modern” technologies like naval mines.

The USS Lapwing was the US Navy’s first minesweeper and the lead ship in her class of her minesweepers. She was launched on March 14, 1918 (during WWI) and departed from Connecticut on September 26, 1918 for Europe. She was assigned to the North Sea mine barrage. After WWI ended, she removed over 2,000 mines from British waters between June and September 1919, saving countless lives. Afterward she returned to the United States before sailing to Pearl Harbor in January of 1921 and remained active in Hawaiian waters until she was decommissioned on April 11, 1922.

Ten years later, the USS Lapwing was recommissioned on September 1, 1932. Soon afterward, she started working with the aircraft scouting force and participated in various exercises designed to develop aviation techniques that were critical to future wars. In early 1936, she was reclassified as a Small Seaplane Tender, AVP-1 and worked primarily with seaplanes in the Panama Canal, the Caribbean, and on the West Coast.

When WWII broke, USS Lapwing was assigned to the North Atlantic. She worked with Patrol Wing 3 and engaged in patrol and anti-submarine warfare. In 1943 she sailed to Key West for duty as a training ship. She aided in the advancement of anti-submarine technology and spent most of her time in Key West until the end of the war.

The USS Lapwing’s bell was cast in bronze and has a unique shaped clapper. It has an excellent tone that strongly resonates, to be heard at a distance. The words “U.S.S. Lapwing 1918” can be clearly read on the bell. In excellent condition.


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British Naval Dirk With Bone Handle

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Child's Percussion Cap Rifle

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Flintlock Blunderbuss with Spring Loaded Bayonet, made by Archer

29 3/4 inches long, 38 3/4 inches long with Bayonet open.


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Henry Nock, English Flintlock Rifle
Rare flintlock rifle by one of Britain's finest makers.

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Humphreys American Homeopathic Remedies Kit With Manual

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Iron Arctic Harpoon
Includes original rope and harpoon cone.


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Large American Gas Accumulator Channel Light

A very large an unusual size American Navigation Aid, this Gas Accumulator Channel Light is quite a spectacular presence, even less than complete. Heavy aged brass holds most of the original glass triangular panels, and a more modern center fresnel lens. Some existent paint of white still remains on the glazed window frames, and the brass has turned to a deep tone with its age. Purchased in the late 20th Century from a northern California farm. How it got there is your story to tell.

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Stout 66 inch Teakwood Ship's Wheel

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Teakwood Desk Set

Made of teakwood taken from the ship H.M.S.COLLINGWOOD.

With compliments of C.W. Kellock & Co. London & Liverpool.


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12 Inch Brass Ships Bell From The Vessel AMERICA 1891

A brass bell from the Sailing Barque AMERICA, 1891. Also shown is a painting done of the ship by artist William H. Yorke, for reference.

12 Inches wide, 11 Inches High

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Antique Ships Wheel Coffee Table With American Brass Lamp Base

Heavy iron hub with polished brass ring. The American brass lamp base is electrified and working.

Dimensions: 17 3/8" high x 54" wide wheel- The base lamp is 11 1/2" wide.

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Cased French Dueling Pistols by Lepage Moutier of Paris SOLD

Classic pair of cased percussion pistols in excellent condition, with bolted front action locks, finely scroll engraved, and with the maker's name on the octagonal barrels, Lepage Moutier of Paris. The stocks are deep ebony, floral carved in a classic French style, and the metal is polished bright with a deep hue to the bluing. Stocks are both numbered '4610'. The pair of pistols are cased in a rosewood veneer box lined with burgundy velvet with accessories.

The artisan touches to this fine pair of cased percussion pistols by the renown French “arquebusier”, Le Page-Moutier makes it easy to realize that this company was a favorite of royal and imperial clientele, the Parisian Expos, and a favorite firearms manufacturer to authors throughout France, immortalizing the company in their works, including Honore Balzac and Alexandre Dumas.

Set in its original Rosewood veneer case with all the accessories, the pistols stand apart with the quality of their manufacture and embellishment. The bolted front action locks are finely engraved, and the octagonal barrels are engraved with the French company’s identification. Carved ebony stocks in a classic manner are complete with floral details. Founded in 1717 by Louis Pigny, and inherited by his nephew by marriage, Pierre Le Page in 1743, eventually the name changed from Le Page to LePage-Moutier in 1842 when Louis Moutier married into the family; and then famously as Fauré Le Page in 1865, with the ascension of Emile Henry Fauré Le Page.


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Fresnel Primary Fourth Order Lens

Lens has 10 prismatic rings, a few with chips, and the aged cut glass has a very slight yellow aged tint.

European, once in place as an aid to navigation near Bourgas in Bulgaria, on the Black Sea, circa 1890s.

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Mahogany Cased Ship's Artificial Horizon

Case dimensions: 7 1/4 inches x 5 3/4 inches x 4 3/4 inches high.

For a period of four hundred years, navigators sought to devise a method to use celestial navigation to locate their position. Artificial Horizons have been employed to assist the process, especially when the true horizon is obscured by weather or other elements. In 1868, the mercury bottle and reservoir were designed with a dual paned sighting hood that made it more possible to accomplish this.

With a trough, a steel bottle for holding mercury, and the glass hood, all cased in its original mahogany box.

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Name Board off Hudson River Steamboat MARY POWELL

Nicknamed, "Queen of the Hudson" for her speed and grand style, the sidewheeler MARY POWELL traveled up and down the Hudson River from 1861 to 1920. This rub rail was originally curved to follow the curve of the vessel but in time it has flattened out. If you were to examine it closely you would see evidence of the old curvature. A back plate has been added to the piece as a support.


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Pair of Ames US Navy Cutlasses

A pair of steel Civil War U.S.Navy Cutlasses with brass hand guards and leather wrapped handles.

Both blades are marked D.R. 1862 on one side of the blade and with the maker's mark on the other: "Made by Ames Manufacturing Co., Chicopee, Mass."

One marked of the swords is numbered 11M 135 on the guard. The other bears additional marks on the blade, an anchor and the letters P.G.G. with the guard numbered 15M 496.

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United States Coast Guard Line Throwing Cannon SOLD


Barrel bore: 2 1/2 inches.

Barrel 28 1/4 inches long.

Base: 12 inches x 26 inches.

35 inches long overall.

Barrel end is engraved with: Sculler HXE TJC, 3831.

This Line-Throwing Cannon was used as a life-saving device by the U.S. Coast Guard. Made of heavy iron and steel parts, with brass reinforce, it would have been deck mounted. A quality, heavy cast cannon.

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British RTC Cannon

Very interesting small British Cannon which has a 1 3/8 inch bore. Previous owner purchased the cannon from United Kingdom where it is recorded that it was used as a signal cannon to indicate rising and falling river tide.


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Early American Remington Arms Flare Gun

Barrel engraved with: MARK III The Remington Arms Union Matallic Cartridge Co. Inc. Remington Bridgeport Works Bridgeport Connecticut. U.S.A.

Inside the breach on the brass there is the number 9-361, this number is also on the bottom of the barrel, also there is a small 5 on the side bottom of the barrel.

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Fishing Equipment
Of the items shown only the two brass reels are still available. Please contact us for more information.

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Iron Signal Cannon With Cap Conversion

More information to follow.


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Large Wood Octant Trade Sign

50 inches high x 42 3/4 inches wide x 9 inches deep.

Looks like a period piece, in fact 20th century made.

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Late 19th Century Model of 16th Century Brass Cannon

This heavy brass barrel cast in relief is a rather unique artifact, with artistic touches replicating a much larger cannon barrel, dated from 1563. Complete with a medallion showing a male ruler’s profile, beaded designs on the reinforces where the segments would have connected, the cascabel is completed in a floral motif. Foundry work shows some of the cast seams, and the brushed bronze patina is attractive, if not completely accurate. A shield and coronet without a city or district identifier is set before the touch hole, and plain handles and carriage trunions complete the cannon.

The black powder barrel is set on a carved wood truck carriage with several risers, and hard iron hardware, all set on wooden turned wheels secures at the axles with cotter pin spikes. Not sure the representational scale to the original cannon, but it appears this barrel may have seen some use, as possibly a signaling device and saluting cannon, and likely other purposes.

The cannon measures 25 inches in length with a 1⅜ inch bore centered in a 3½ inch muzzle diameter. There are six sections between the cascabel and the mouth, all with implied dual reinforces where they meet. The carriage measures 22½ x 11½ x 11½ inches, making the overall length approximately 31 inches. A quite rare and different cannon for any collection.

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Launching Presentation Carved Desk Set Commemorating H.M.S. BEAVER

Carved desk set with brass cannons, framed image of vessel and carved Beaverplaque.

size: 26 1/2 inches x 11 3/4 inches.


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Tiller Yoke of Danforth Anchors

An unusual piece of sailing hardware, the tiller yoke in this instance is hand-forged from the shape of two Danforth-style anchors into a locking brace for a larger sailing ship's rudder control. The attached side mounted pulleys and toggled miniature blocks are brass as well.

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Wood Mirror Case with Sliding Cover

Inscribed in the wood: " A.F. Dunlop New Bedford Mass. Feb 11th 1880

With more inscription of dates and "on the line with" ...

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Bronze Statue of Sailor Boy

More information to follow.


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French Silvered Naval Officer Dress Sword

A fine French silvered dress sword- includes interesting decorative motifs including a dolphin's head, rope and anchor, shells and a series of maple leaves around the guard and pommel.

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Large 9/0 Edward Vom Hofe Ocean Reel

Excellent condition.

With initials G.F.B. engraved on one end.

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Sunderland Pottery Mug

Rare Sunderland pottery mug with ceramic frog inside.

The verse reads, Sweet, Oh Sweet is that sensation, Where two hearts in union meet, But the pain of separation, Mingles the bitter with the sweet.

A British Brig is shown opposite the verse.


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Three Spelter Maritime Statues of Helmsman, Lady Distress and Man with Lifeline

A classic three piece Cast Zinc Spelter Statues with a clock instrument, in traditional maritime roles, posed as a Sailor at the Helm, hands on the wheel; Lady Signalling Distress, a fabric in one hand and a net encumbered polearm gaff in the other hand; a Watchman with a Lifeline and Ring, looking outward to cast for survivors.


Helmsman: 25 1/8 inches high x 12 1/2 inches wide.

Distress:23 5/8 inches high x 11 1/8 inches wide.

Watchman with life ring: 22 1/8 inches high x 7 7/8 inches wide.

Clock diameter: 4 3/8 inches. Clock is missing pendulum.

Helsman and Distress have engraved placques. The Watchman with Life Line is missing a plaque.

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Liverpool Pottery Bowl With Marine Scenes

More information to follow.

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United States Navy Divers Suit

Also stamped with size "M" and No. 1.9


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Ainsley Sextant

The instrument is signed Ainsley, South Shields. The box includes labels from F. Lundy, Gt. Grimsby and Thomas C. Sargent, Thames St., Rotherhithe, London.

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Brass Cased Pocket Compass and Sundial

A brass pocket compass and equatorial sundial with original box. Marked L. Casella, Maker to the Admiralty & Ordnance, London.

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Cased Octant by WF Cannon of London

A fine navigational instrument made of ebony and brass with bone, housed in a mahogany case.


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High Quality 19th Century All Brass Telescope and Tripod SOLD

An impressive and large brass celestial and terrestrial sighting telescope on a solid brass tripod base. A spectacular presentation, the brass has been lacquered to maintain polish. Included is the original box with extra lenses.

Primary Instrument Barrel Measures 64 Inches, barrel with shade measures 46 Inches
Overall Adjustable Height to Yoke 83 Inch Maximum, Lowered to 58 Inches Minimum
4 Inch Lens

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Mahogany Carved Twist Gimballed Barometer by I. Cail
A fine quality brass and mahogany carved twist gimballed barometer with the original thermometer and a bone knob. This is the rarest and most desirable type of barometer.

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Mahogany Carved Twist Gimballed Barometer by James Bassnet
A fine quality brass and mahogany carved twist gimballed barometer with age cracks on the face. This is the rarest and most desirable type of barometer.


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Nikon Japanese Big Eye 20x120 Binoculars

An exceptionally beautifully polished set of Nikon Binoculars of top quality, set on a nickel polished tripod. Labeled 20 x 3 degree vision, this 20 x 120 optical instrument is circa 1940 and was previously painted with a drab military grey that has been stripped and polished, along with a fine quality Bausch and Lomb Tripod. The quality of the 120mm lens, and the 20x magnification power make this not only a beautiful artifact, but an excellent instrument for contemporary use.

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Oak Carved Admiral Fitzroy Barometer

This deeply carved ornate barometer is all original and circa 1880.

British Naval Vice-Admiral Robert FitzRoy (1805 – 1865) achieved lasting fame as the captain of HMS Beagle during Charles Darwin's famous voyage. FitzRoy was a pioneering meteorologist who made accurate daily weather predictions, which he called by a new name of his own invention: "forecasts".

FitzRoy strove to make weather information more widely available for the safety of shipping and fishermen and the invention of several different types of barometers was attributed to him. These became popular and continued in production into the 20th century, characteristically engraved with Admiral FitzRoy's special remarks on interpretation, such as: "When rising: In winter the rise of the barometer presages frost."

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Quintant by Cary of London

A rare instrument of the highest quality by one of the finest makers- Cary of London. The instrument is very complete and features a platinum scale. Included is its original fine polished mahogany box and matching leather case. In outstanding condition.


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Ross 10x80 British Admiralty Binoculars

This fine quality British Admiralty instrument was recently fully polished and cleaned, and is in excellent functioning condition. Dated 1942, and with the Broad Arrow admiralty mark, they were undoubtedly put into World War II service. The metal tripod stand is polished as well, and is a very adaptable way to show and use this instrument in a home setting, whereas onboard a ship they would have been stationary mounted to an observation platform rail. A top quality optical instrument of the 20th Century.

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U.S. Navy 20 x 120 Bridge Binoculars

These are the most complete set of United States Navy bridge binoculars we have ever had. Optics are excellent and all parts are present and working including the original deck mount and stand.

Base includes a crank lever to raise and lower the binoculars. Embossed with "US" into the casting. Plaque indicates these were last serviced in 1987.

The last two photos show a similar pair of binoculars, in place, on the battleship USS Iowa, which is now a museum in Southern California.

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Ships Chronometer by John Campbell

A precision time-piece for the specific purpose of navigation, this marine chronometer created by John Campbell, late of Norris & Campbell, is numbered #927, and the historic lists record it as an instrument he made circa 1863.

The instrument is housed in its original brass-bound rosewood case.


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British Brass Bell with Wall Bracket and Lanyard SOLD
Quality heavy brass bell with excise mark of Queen Elizabeth, dated 2/55. Yoked to its original heavy brass wall plaque, and the iron clapper has a fine quality braided lanyard to let it ring. Excellent, loud clear sound from this mid-20th Century artifact bell.

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Early American Backstaff, Dated 1762

An extremely rare and excellently preserved navigation instrument dated 1762, this backstaff, or Davis Quadrant, is attributed to maker Benjamin King of Newport, Rhode Island. It is impact stencil signed with his name, with an exceptional array of degree scales on each arc, including a Gunters Scale on the verso, quite rare and desirable on such a navigation instrument.

Dimensions: 25 5/8 inches long x 15 1/4 inches high x 5/8 inch deep.

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Rosewood Gimballed Marine Barometer by Francis M. Walker - London SOLD


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Cased Artificial Horizon Navigation Instrument

For a period of four hundred years, navigators sought to devise a method to use celestial navigation to locate their position. Artificial Horizons have been employed to assist th process, especially when the true horizon is obscured by weather or other elements. In 1868, the mercury bottle and reservoir were designed with a dual paned sighting hood that made it more possible to accomplish this.

Cased wood mahogany box with boxwood mercury bottle (3 3/4 inch height with 1 3/4 inch diameter) and steel tray with wood funnel liner, plus a glass-paned wind cover with steel frame (6 1/2 x 3 3/4 x 4 1/2 inches).

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Cased Navigational Octant by G. Heath, London

This navigation instrument features bone scales, the largest divided for a range of 100 degrees with the cross-sectional scale of the arm divided from 0 to 20 minutes. The instrument is housed in its original period octant case. It measures 9 1/2 inches in width to its 12 inch overall length. Case size is 11 7/8 wide by 13 high by 4 3/8 deep.

The inlay is signed by the maker, G. Heath of London, while the box includes a label for Samuel Thaxter and Sons, Boston, Importers of Mathematical and Nautical Instruments, who were the likely retailers of this object to its original 19th century owner.

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Rare American Display Compass by Guillaume Bossimeau

With its original stenciled flags and advertisement written on the forward panel, “Guillaume Bossimeau, 31 Nassau St. New York City”, this display piece is a large version of a French Naval Steering Compass.

Of note are the copper-bound corner straps on the top and sides, with a mock-up canister light. It resided in the compass maker’s lobby for a time and recently was discovered in an Iowa home.

Instrument Measures 32 x 32 Inches Square with a 51 Inch Height. The Light Cannister adds an Additional 10-Inch Width. Compass Dial is 13½ Inches in Diameter, Inset into a 19-Inch Suspension Basin.


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Marine Chronometer by Johannsen & Co

This two day chronometer is set in a mahogany case and is complete and in working order. It is inscribed with, “Johannsen & Co., Makers to the Admiralty, The Indian Government and the Royal Navies of Italy, Spain, and Portugal” and the maker’s address “149 Minories, London.”

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Admiral Fitzroy Barometer

British Naval Vice-Admiral Robert FitzRoy (1805 – 1865) achieved lasting fame as the captain of HMS Beagle during Charles Darwin's famous voyage. FitzRoy was a pioneering meteorologist who made accurate daily weather predictions, which he called by a new name of his own invention: "forecasts".

FitzRoy strove to make weather information more widely available for the safety of shipping and fishermen and the invention of several different types of barometers was attributed to him. These became popular and continued in production into the 20th century, characteristically engraved with Admiral FitzRoy's special remarks on interpretation, such as: "When rising: In winter the rise of the barometer presages frost."

This particular example is oak, with decorative carving.

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American Made Chelsea Clock

Face is engraved: Goldsmiths & Silversmiths Co LTD. 112 Regent Street London.

Made in U.S.A at the bottom of face.

Dimensions: 8 3/4 inches wide x 8 3/4 inches high x 3 7/8 inches deep.


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Cased Pocket Barometer

More information to follow.

2 Inch Dia. Face x ¾ Inches Deep - Case: 3⅜ Inches Long x 2⅜ Inches Wide x 1 Inch Deep.

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Drafting & Navigation Tool Set To: Lieut. J White

Presentation inscribed: To Lieut. J. White, by the Officers, N.C.O.'s, & Members of "I" Company 6th V.B. Blackwatch. On the occasion of his marriage. 30th April 1902."

A nice rosewood case with numerous tools of ivory, boxwood and nickel set in the two-layer tray with purple felt.

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VALLEJO GALLERY is an Authorized Chelsea Clock Dealer


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Circa 1850 Dry Card Compass by Hooper & Sons Compass Makers

4 1/2" compass face. Case measures 7" x 7" x 4 3/4" high.

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Double Frame Sextant by J. Fletcher, London

An early double frame brass sextant marked J. Fletcher, 48 Lombard St., London on the scale. This firm was at this address from 1833 to 1855. Good complete instrument in a partial, original wood box. From the William Boylhart collection.

Lid missing on case.

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Ebony Octant by Spencer Browning and Company, London SOLD

Dimensions: 13 inches high x 10 3/4 inches wide-Case measures: 14 inches high x 12 1/2 inches wide x 3 3/4 inches deep.

#51 from the William Bolyhart Collection.


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Large Size Pocket Sextant by F. Steward, London

4 inches high x 2 3/8 inches wide

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Brass sundial on oak base by Dollond, London.

Dimensions: Sundial 3⅞ x 3⅞ Inches square, 2⅜ Inches High. Oak Base 5½ x 5½ Inches Square ¾ Inches High.

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Ship's Chronometer by John Bliss, New York

#114 from the Boylhart collection.

In mahogany original box measuring 7 1/2 inches x 7 1/2 inches x 7 inches high with beveled glass top

Has all accessories in good condition.

One of the few American-made marine chronometer makers.


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Dutch Gimballed Brass Marine Barometer by Koningh

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Rare American Made Telescope by Pike, New York

Inscribed on the first reinforce of the large main body tube of this rare, early American Tabletop Telescope, "Pike Optician 516 Broadway N.Y." With its simple yet superior function, this instrument was the possession of Russell W. Porter, of Albany Fields, New York. He was part of the Ziegler Polar Expedition in 1903 that was stranded in its attempt to reach the North Pole, and wasn't rescued until 1905.

Case dimensions: 9" wide x 5" high x 40"long.

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Rare Ships Boxwood Backstaff


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American Seth Thomas Bottom Bell Ship's Clock

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Brass Chelsea Yacht Wheel Ships Bell Clock

Chelsea clock # 717590.

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Brass Tripod Telescope by Samuel & Benjamin Solomons -London

3 1/2 Inch diameter lens.


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Navigation Set with Ray Skin Case.

More information to follow.

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Rare Wood Bowl, Dry Card Whale Ship Compass By S. Thaxter and Son Boston

Rare wood bowl, dry card compass by S.Thaxter & Son 125 State Street Boston. With original brackets

Dimensions: Wood bowl compass 5 inches high x 7 5/8 inches wide.

Compass card: 6 inches wide.

Overall height with stand: 15 inches high.

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Omoo by Herman Melville
Original First Edition by this classic American novelist.


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Two Maritime Engravings of Naval Actions

Two period engravings of naval actions are mounted in an antique burl frame.

On the left, "The Taking of Gibraltar" shows a fleet of English ships in the Bay of Gibraltar, facing the Rock of Gibraltar." This engraving bears the name Hulett Sculp in the lower right.

On the right, "The Sea Fight of Malaga, August 13, 1703" depicts nearly 50 ships at battle off Malaga. This engraving is signed C.Du.B of c. Fecit, and at the bottom reads, "Publish'd According to Act of Parliament"

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Fine Weather and a Fair Wind Yachting Print

One of 250 prints made of this image in 1946, hand signed in pencil, by the artist in the lower right and in the lower left bearing the Frost and Reed blind stamp.

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Racing Home, the CUTTY SARK

Part of a closed edition of 300 done in 1963, hand signed by the artist in pencil on the right. In the lower left is the blind stamp of Frost and Reed, the gallery who represented Dawson during his lifetime.


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Attack On Forts Hatters and Clark

More information to follow.

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Avalon, Santa Catalina Island, California

An exceedingly rare and desirable image of Avalon from the turn of the century. Nestled safely at Catalina Island’s southeast channel, the town is the emotional and economic heart of the island. Shown here are important early buildings, such as 1890's Holly Hill House on the foreground ridge and Hotel Metropole at the shore in front of steamer pier. More than half the town shown would be lost in a 1915 fire. Combined with the natural topography and the diverse marine activity shown in the bay, it is a complete scene.

An absolute Southern California destination for tourists and locals, Catalina Island has hosted and served as home to humans for centuries. Europeans first made landings in the late 16th Century. It evolved through a series of ownerships and visions to be popular resort destination by the 1890s. Shown in the bay are an arriving passenger steamship, most likely one of the Wilmington Transportation ships out of Long Beach. Among the other various craft and numerous glass bottomed boats for underwater viewing is the most prominent of these ships, the Sidewheeler CLEOPATRA. In all, the island’s population was estimated to be about 500 in the winter, and 8,000 during the summer, and they all traveled by ship.

The lithograph presents the town from a bird’s-eye-view. The sharply colored image is in a complete matte border to present the title fully, while another edition of this print was later done in color accents with a border. This image is pictured in the book California on Stone by Peters on page 41 and as number 56 in Views & Viewmakers of Urban America by reps. This original print is one of only five we have seen to date of either version.

Image measures 17" x 23", with Title block 19" x 25" - Framed size is: 31" x 37"

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Captain Cook's Voyages to the Pacific

Captain James Cook, explorer of the Pacific Ocean, and the three, first-edition volumes of his fateful third and final voyage over the Pacific Ocean, in the firsthand accounts published in 1784. With the large folio image book of the first edition works from the travels. Beautifully rebound, this is an superior three-volume first edition set with the engravings that make the entire set so special.

One of the best titles in all of the history of exploratory literature, the page reads: " Captain Cook. Voyage to the North Pacific Ocean for Making Discoveries in the Northern Hemisphere and to Determine the Position and Extent of the West Side of North America, its Distance from Asia and the Practicality of a Northern Passage to Europe."

This superior three-volume set was beautifully rebound some time ago, and it comes with the large folio atlas and images that make it a fascinating read and visual account of the voyages. A must have for any lover of Hawaii, the Age of Exploration and/or Captain Cook.

Captain Cook. Large Folio Atlas to the Third Voyage, Published by Order of the Lord Commissioners of the Admiralty W. Strachan and T. Cadell, London, 1773, 1777 and 1784.


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The Battle at La Hague

An epic conflict at sea off the coast of France in May of 1693, the action was painted by period artists, including George Chambers and Philadelphia-born Benjamin West, who sailed to London in 1763 and became a painter to the Court fo King George III. His original work for the monarch has been in the Collection of the National Gallery of Art, U.S.A., since 1959.

The full title of the engraved work completes the dedication and attribution of the artists involved: "This Plate Engraving from a picture of The Battle of La Hogue In His Lordship's Collection is Dedicated by His Lordship's Much Obliged adn Most Obedient Humble Servants - Benjamin West & William Woollett."

The British and Dutch powers responded to an attempt by Louis XIV of France to return James II, a fellow Catholic, to the throne of England. The resounding 5-day defeat off the shore of La Hogue ended this plot decisively. Still, it is recorded that West employed a healthy dose of artistic license in his patriotic image.

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A complete history of British Yachting from the middle of the sixteenth century to present day-1907.

By the Yachtsman Publishing Company 143 Strand, London W.C.


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A Southerly Wind, The WAIMATE

Signed in pencil by the artist, with blind stamp

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Lithograph LIVERPOOL 1853

A nice early panoramic view of Liverpool 1853. Mounted in it's original frame.

Ships were drawn by Samuel Walters, Town scene by Butler.

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Original Period Photo of a Sailboat

A period sailboat cruises by the docks of the NY Steamship Company in this original period photo.


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Original Period Photograph of the 12 Meter Yacht MODESTY

Original Period Photo of the 12 Meter Yacht MODESTY, by Beken and Sons of Cowes.

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Original Period Photograph of the Cutter VOLUNTEER

Original period photo of the famous cutter VOLUNTEER at sail by Stebbins and Co.

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Pittsburgh - The sidewheeler DEAN ADAMS Arriving At The Point in 1880


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Whaleships ROUSSEAU and DESDEMONA in New Bedford Harbor

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Lying To Off St. Georges Banks, NORSEMEN AND ATALANTA

Published in 1884 this image is number 15 of what was a portfolio of chromolithographs, "American Yachts Their Clubs and Races" by renowned maritime artist Frederick S. Cozzens, made from his original works in watercolor. This comes unframed but matted, ready to be framed or added to a collection from the series.

The portfolio was originally accompanied by a companion text by U.S. Navy Lieutenant James Douglas Jerrold Kelley that gave background, context and explanation of each plate. Here is an excerpt of Lt. Kelley's entry on this image:

"Mr Cozzens has given us in this plate an excellent picture of the two sturdy yachts Norseman and Atalanta lying to off those shoals which are so dangerous both to the mariners approaching our coast and to the unfortunate fishermen who are yearly offered up as a dreadful tribute to the fury of the Georges. These shoals are formed by a dangerous sand ridge which is just one hundred miles from Cape Cod; the shoalest part is near the eastern end and in 1821 when surveyed by Mr Blunt's party this is said to have had as little as three feet of water upon it. Later expeditions however have not verified the statement but it is probable that the bottom shifts continually for reliable old fishermen report that at certain seasons it is bare while both Wilkes and Piatt of our Navy found nowhere less than twelve feet of water. A nasty dangerous sea is kicked up on these shoals whenever the weather is bad and if one is caught off it in a gale every precaution should be taken not that good large sea boats like the yachts given in the plate are liable to suffer nor even staunch fishing vessels but smaller craft with insufficient crews and equipment and particularly the dories used in fishing need expect no mercy."

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A Bone In Her Teeth by Hernando Gonzallo Villa

More information to follow.

American Artist.


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Claude Monet Signed Letter - Written from Giverny France

Letters size: 4" x 6 3/4" .

Framed size: 19 3/4" x 26 3/8".

This rare document is written in Monet's own hand describing the return of an item by one of his clients. Dated June 23, 1893 on stationary from Giverny. This draft is displayed with the likeness of Monet and a copy of one of his paintings at Giverny.

The letters reads as follows:

23 June 93

Dear Mr. Hamman,

I have indeed received in due time the (item) that you sent back to me. I am hoping now to receive a word from you about the settlement of my account, thinking that Mr. Knoedler has sent some instructions on this subject. I am going to need those funds, and ask you to see to it that payment is made as rapidly as possible.

A word from you in reply, I pray you.


Cordially yours

Claude Monet

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Map Of Spain by Nicolas Vissches

More information to follow.

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Original Stebbins Photograph of ASAHI


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Whaleship L.C. RICHARDS Pirate Passport

Martin Van Buren, President of the United Sates, Signed ship's Passage For The Whaleship "L.C.RICHMOND", James B. Woods, Master, November 21,1837.

The RICHMOND left New Bedford for a voyage to the Pacific on November 26, 1837 and returned February 1, 1841 with 2,618 barrels of sperm whale oil. Engraved document with manuscript additions, affixed with embossed paper seal. Counter signed by John Forsyth as Secretary of State.

Framed with engraved portrait of Van Buren.

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Hilton Head Island - Shrimpboats at Skull Creek

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British Letter of Marque With 5½ Inch Diameter Seal

A Letter of Marque or a Privateer's Commissioning Letter are truly unique and valuable maritime items of antiquity. Usually a printed document, these paper artifacts were licenses granted by a monarch or a government to privately owned vessels, enabling them under certain conditions to war against shipping interests of an enemy nation. With this authorization, a privateer would pledge to try to capture or seize enemy ships, both naval and merchant, seldom if ever with any waters being a safe harbor. Without a proper passport, a captain would risk being charged with piracy.

As its text states, this particular Letter of Marque was issued by King George III to the Master of the Ship CARMARTHEN, during the worldwide Napoleonic War campaign against the machinations of Napoleon. The entire text of the document is captured in images and translated in the images. The Royal Wax Seal is still present, not quite the same clarity as when issued 200-plus years ago, but the mounted figure on horseback is still evident. A classic late 18th/ early 19th Century license to perform as a privateer for Crown and Country; not to mention profit.


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Original Period Uncut Sheet of Railroad Tickets

An uncut sheet of three railroad tickets allowing the bearer passage from New York to Buffalo. Each tickets includes a great period engraving of a steamship, a steam train and a barge being towed upriver by a team of horses- all viable means of transport in the early 1830's when these were in use. These original period tickets are in excellent condition for their age.

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Stephen Decatur Hand Written Letter Of Recommendation

The letter states:

Washington Nov. 11th 1817

"A friend of yours has informed me, that you are desirous to have testimonial from me, as it regards your publick services & conduct whilst under my command, & I only do justus to you, I feel a great pleasure in being able to state, that your conduct as an officer & gentleman, during the period we served together was such as to meet my fullest approbation, in action it was cool & gallant".

Yours truly Stephen Decatur

Lieut. James L. Edwards

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Whalemans Shipping List and Merchants Transcript


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Map of Africa by Frederic de Wit

More information to follow.

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New York Maiden Lane By Gaslight From A Ship At Pier 19 In 1882 SOLD

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NEW YORK, The ABNER COBURN Leaving The East River For San Francisco in 1886 SOLD


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Original Peabody of Boston Photograph No. 761

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Signed Print by John Stobart- Sunrise Over Nantucket 1835

More information to follow.

Print number 631 of 850.

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Woman And Children First, Photogravure of a Painting by T.M. Hemy


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New Bedford, 50 Years Ago- Lithograph - Circa 1850s

One of artist William A. Wall’s most famous paintings, the New Bedford born painter made this original painting (once owned by Miss Amelia Jones) in the 1850s, and it was produced as a two-stone lithograph by Endicott & Co. of New York and published by Charles Talbert & Co. of Boston in 1858. The scene is a charming one of New Bedford as it appeared in approximately 1808, with the signs of several well known businesses and people of all ages about their respective business and play, with some local fauna and the horse-drawn carriages.

Wall himself was born in New Bedford in 1807, and made his fame as a portrayer of the townspeople and local settlements of “Old Dartmouth”. He studied in both New York and Philadelphia after leaving the watch making profession. His “Birth of the Whaling Industry” masterpiece is in the New Bedford Library collection.

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Original Peabody of Boston Photograph

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Original Peabody of Boston Photograph #798 SOLD


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Original Period Photograph of BRITANNIA & SHAMROCK SOLD

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Original Stebbins Photograph #7892

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Original Stebbins Photograph Number 6045- SPINSTER

Framed demensions: 15¾ inches x 17¾ inches.


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Pencil Study of Guano Building Savannah

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Vineyard Haven The Schooner SHENANDOAH From The Black Dog Tavern In 1884

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Whalebone and Ivory Yarn Double Swift SOLD
Carved fist base clamp.


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Scrimshaw Whales Tooth - Lady Justice with American Shield and Eagle. SOLD

Lady justice with eyes open, looking for justice. Sword for; "Demand Of Justice and Respect for Law"

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