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Lots which are affected by Artist Resale are denoted by the symbol δ
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MARITIME PAINTING & ART
various standard reference works and catalogues raisonnés, including: Archibald's Dictionary of Sea Painters, 2nd edition, 1989; Arnold Wilson, Dictionary of British Marine Painters, 1970; L.G.G. Ramsey, Montague Dawson, 1st edition, 1967; Alex. A. Hurst, Thomas Somerscales, 1988; K.S. Fischer & Alex. A. Hurst, Anton Otto Fischer, Marine Artist, 1977; Roger Finch, The Pierhead Painters, Naïve Ship-Portrait Painters, 1750-1950, 1983; Davidson & Tibbles, Fifty Ship Paintings by Francis Hustwick, 1999; Peter Neill, Maritime America, Art & Artifacts from America's Great Nautical Collections, 1988; and other volumes (2), all excellent condition, mostly with dust jackets, a useful lot for the enthusiast
(10)
This lot will be available for viewing at Imperial Road
£150-200
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N.R. OMELL'S ANNUAL MARINE PICTURE CATALOGUES
a series from 1974-2009 (17), all different; together with miscellaneous maritime auction catalogues from Christie's, 1988-2012 (8) and Sotheby's, 1991-2008 (13); Bonhams Traditional River Craft (at Henley) catalogues (5) and four Christie's South Kensington catalogues of Shipping Posters, no duplicates, all excellent condition
(47)
This lot will be available for viewing at Imperial Road
£80-120
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BONHAMS (LONDON) MARITIME CATALOGUES
a rare lengthy run of Bonhams (London) Maritime catalogues, August 1993-2013 inclusive, including the July 2005 Trafalgar Bicentenary sale; together with others similar for January 1990, August 1989, October 2014 and April 2015, all as issued, with official price lists, a fine archive source
(60)
This lot will be available for viewing at Imperial Road
£250-300
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CHRISTIE'S (LONDON) MARITIME CATALOGUES
a near complete run of Christie's (London) Maritime catalogues, 1991-2010, lacking only the October 2005 Trafalgar Bicentenary sale and that for November 2006; and one from Christie's Amsterdam (September 2000), all as issued, mostly with official pricelists, a fine archive source
(43)
This lot will be available for viewing at Imperial Road
£200-250
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CHRISTIE'S (NEW YORK) MARITIME CATALOGUES
a complete run of Christie's (New York) Maritime catalogues, 2003-2009 inclusive; together with two similar Marine catalogues by Bonhams America, all as issued, some with official price lists, a good archive source
(19)
This lot will be available for viewing at Imperial Road
£80-120
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SOTHEBY'S (LONDON) MARITIME CATALOGUES
A near complete run of Sotheby's (London) Maritime catalogues (20), 1991-2008 (lacking only May 1992), including the October 2005 Trafalgar Bicentenary sale; together with a miscellaneous but useful selection of other London Maritime catalogues (30), from Bonhams, 1997-2013 (16) and Christie's, 1998-2012 (14), no duplicates, many with printed pricelists, all excellent condition, a very good lot for the researcher
(50)
This lot will be available for viewing at Imperial Road
£150-200
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ATTRIBUTED TO THOMAS SEWELL ROBBINS (BRITISH, 1810-1880)
A fishing boat with yachts racing beyond
Watercolour heightened with white
11½ x 15¼in. (29 x 38.5cm)
£200-400
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british school, 19th-century
Two Views of the Harbour at Greenock
Watercolour heightened with white
Initialled and inscribed 'CPP June 14.1875' (lower left); and 'CPP 1875' (lower right)
12 x 18¼in. (30.5 x 46.5cm.)
(2, a pair)
£300-500
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John Thomas Serres (BRITISH, 1759-1825)
The Harbour at Weymouth
Pen, ink and watercolour
Signed and dated 'J.T. Serres 1805' (lower right on gunwale of rowing boat) inscribed with title Weymouth upper left on ship's stern.
17½ x 22in. (44.5 x 56cm.)
£2000-3000
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CIRCLE OF Nicholas Matthew Condy (British, 1815-1861)
A yacht, probably of the Royal Thames Yacht Club, in the Thames Estuary with Channel packet beyond
Oil on canvas
14 x 18in. (35.5 x 46cm.)
£250-350
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ENGLISH SCHOOL, 19TH-CENTURY
A three-masted brig being escorted by a paddle tug at dusk
Oil on canvas
Bears signature and date 'C Dixon / 1886' (lower right)
30 x 20in. (76.5 x 51cm.)
Provenance: Christie's South Kensington British and Continental Pictures, 8th March 2006, lot 1106
£200-300
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δ Philip Marchington (British, 1934-)
The Pacific Steam Navigation Company steam Paddle Ship 'Santiago' in a swell
Oil on canvas
Signed 'Philip Marchington' (lower left)
28 x 40in. (71 x 101.5cm.)
£400-600
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loos family of antwerp (Belgium, 19th-century)
The S.S. 'De Ruyter' in US coastal waters, circa 1875
Oil on canvas
24 x 29in. (61 x 73.5cm.)
£400-500
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CHARLES TAYLOR (BRITISH, FL. 1836-1871)
A paddle steamer in a stiff breeze
Watercolour heightened with white
Signed 'Char Taylor' (lower left)
15 x 28½in. (38 x 72.5cm.)
£300-500
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Charles Edward Dixon (British, 1872-1934)
The Thames at Greenwich, 1897
Watercolour
Signed, dated and inscribed 'Charles Dixon. 97 Greenwich' (lower left)
10½ x 29½in. (27 x 75cm.)
Provenance: With Oliver Swann Galleries, London label to verso
21 x 40in
£3000-5000
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Charles Edward Dixon (British, 1872-1934)
A view of a busy New York Harbor with the Statue of Liberty beyond
Watercolour
Signed, dated and inscribed 'Charles Dixon 99 / - Langham Sketch -' (lower right)
10 x 21¾in. (25.5 x 55.5cm.)
Provenance: With Oliver Swann Galleries, London label to verso
£2000-3000
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Joseph Mallord William TURNER (BRITISH, 1775-1851)
North Foreland Lighthouse, Kent, circa 1793-1795
Wash over pencil on wove paper
Old label to reverse inscribed 'Formerly the property of J.L. Roget (from Mr. Vaughn's collection)'
10 x 7½in. (25.5 x 19cm.)
Turner, a frequent visitor to the Kentish coast, produced several washes of local scenes in the mid-1790s. For other examples from the series see Sotheby's, British Picture Sale, 22nd March 2005, lot 94: A boat anchored in a harbour; Christie's London, British Art on Paper, Thursday, June 9, 2005, lot 32: A boatbuilder's yard, Dover; Sotheby's, The British Sale, March 22, 2000, lot 119: Boats in the harbour at Dover
£4000-6000
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attributed to Charles TAYLOR (British, Fl. 1836-1871)
A schooner rigged yacht of the Royal Yacht Squadron sailing off Cowes
Watercolour with scratching out
7 x 21in. (18 x 53.5cm.)
£200-300
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δ M. AUBERT (FRENCH, 20TH-CENTURY)
A schooner rigged yacht under full sail
Watercolour heightened with white over French passage planning chart for the Petites Antilles circa 1934
Signed and dated 'M Aubert MCMLXXXIII'
11½ x 18in. (29 x 46cm.)
£200-400
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William Lionel WYLLIE
(BRITISH, 1851-1931)
A pair of sketches for the launching of a lifeboat
Pencil
7½ x 4¾in. (19 x 12cm.)
Provenance: Trade labels for Colin Denny Limited; and the Warehouse Gallery, London attributing these sketches from a sketch portfolio
(2, a pair)
£250-350
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Charles Edward Dixon (British, 1872-1934)
The Royal Yacht 'Britannia' racing at the Rothesay Regatta; 'Zenita' Wins the King's Cup; the Royal Yacht ['Victoria & Albert III'] at Rothesay; and the Fleet at the tail of the Bank
Grisaille and watercolour
The lower three graphics signed 'Charles Dixon' (lower left), dated 1920 (lower left) and initialled 'CD' (top left)
17½ x 29in. (44.5 x 73.5cm.)
Provenance: N.R. Omell: Marine Paintings of the 18th, 19th and 20th Centuries, 1986, item no. 35
£2500-4000
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δ George Henry DOWNING (BRITISH, 1878-1940)
Portsmouth Harbour viewed from a yacht builder's yard
Watercolour
Signed in ink and inscribed in pencil 'Geo. H. Downing / The Harbour Portsmouth' (lower left)
9¾ x 13¾in. (25 x 35cm.)
£300-500
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CHARLOTTE LANGTON (BRITISH, D. circa 1845)
A View of Cowes Castle, circa 1825
Watercolour
7½ x 12in. (19 x 30.5cm.)
Provenance: From an album with Abbott and Holder Ltd private collection
£400-800
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Charles Edward Dixon
(British, 1872-1934)
J-Class yachts racing off Cowes
Watercolour heightened with white
Signed 'Charles Dixon 1920' (lower left)
8 x 17½in. (20 x 44.5cm.)
£1500-2000
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δ Arthur Briscoe (British, 1873-1943)
The Royal Yacht 'Britannia' racing off Cowes
Watercolour
Signed 'A. Briscoe .33' (lower right)
6½ x 9½in. (16.5 x 24cm.)
Provenance: With the Trion Galleries, London
£600-800
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δ Neville Sotheby PITCHER (British, 1889-1959)
His Majesty's Yacht 'Britannia' racing at Cowes, 1913
Watercolour heightened with white
Signed 'N. Sotheby Pitcher' and inscribed as per title (lower right)
20 x 15in. (51 x 38cm.)
£800-1200
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Charles Edward Dixon (British, 1872-1934)
Beginning of the Cowes Week, August 6th 1904
Watercolour heightened with white
Signed 'Charles Dixon' (lower left); with artist's title to old label on verso
12½ x 17½in. (32 x 44.5cm.)
£2000-3000
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EDWARD OGILVIE (BRITISH, FL. 1870-1900)
The Austro-Hungarian Imperial and Royal Yacht Squadron yacht 'Rovenska' bearing the Commodore's pennant and passing the Royal Yacht Squadron, Cowes, circa 1892
Watercolour heightened with white
Signed 'E. Ogilvie' (lower right)
8 x 14½in. (20 x 37cm.)
The short-lived Austro-Hungarian Imperial and Royal Yacht Squadron was co-founded in 1891 by H.I. & R.H. The Archduke Carl Stephen of Austria (1860-1933). An enthusiastic yachtsman, he also served as its first Commodore, being succeeded by the ill-fated Archduke Franz Ferdinand (1875-1914). Basing their own pennants closely on those of the Royal Yacht Squadron's, the Archduke owned several yachts over the years, but in 1892 he had three yachts comprising the two two-ton sloops Rovenska (ex-Riduna) and Adamkula, and the steam yacht Ossero, all of which were registered to the port of Lussingrande, now part of Western Croatia. Of the two sloops, the Rovenska had been provided with a new suit of sails by Lapthorn & Ratsey in 1892. In addition, he was also made a member of the Yacht Racing Association that year and it would be plausible to suggest this picture was painted to commemorate the new Imperial Yacht Squadron's first appearance at Cowes, sporting new English sails and with the Squadron's signal mast dressed overall in welcome.
£600-800
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δ Guy L'Hostis (FRENCH, 1945-)
The 'Xamura 40' Passing the Needles
Watercolour
Signed 'G L'Hostis' (lower left)
15½ x 22in. (39.5 x 56cm.)
£300-500
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δ FRANK HENRY MASON (BRITISH, 1876-1965)
'Britannia' sailing off Cowes with naval escorts
Watercolour heightened with white
Signed 'Frank. H. Mason' (lower left) and inscribed 'Cowes, Aug 4.21' with naval ship's names along lower border reading 'Resolution'; 'Utah.USA'; 'Terpsichore'; 'Cariad'; and 'HM Escort TBD' (H.M.S. Tartar G43)
15¼ x 23in. (38.5 x 58.35cm.)
Provenance: The Boardroom, Balfour Darwins Steel, Sheffield
£2000-3000
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William Frederick MITCHELL (BRITISH, 1845-1914)
The Royal Yacht 'Victoria & Albert III' with H.M. King Edward VII aboard
Watercolour heightened with white
Signed 'W. Fred Mitchell / Jan 1903' (lower right) and numbered 2120 (lower left)
10½ x 13¾in. (25 x 35cm.)
£1000-1500
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δ CHARLES EDDOWES TURNER
(BRITISH, 1883-1965)
H.M.S. 'Sheffield'
Watercolour heightened with white
Signed 'C.E. Turner' (lower left)
16 x 23in. (40.5 x 58.5cm.)
Provenance: The Boardroom, Balfour Darwins Steel, Sheffield.
£400-600
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δ After SIR MUIRHEAD BONE (SCOTTISH, 1876-1953)
The fo'castle of H.M.S. 'Resolution', viewed from the bridge, with the 'Royal Sovereign' beyond
Folio print
Signed in pencil 'Muirhead Bone' and blind stamped 'MB' (lower right)
Pl. 15 x 11in. (38 x 28cm.)
£100-400
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δ JAMES D. LISHMAN
(BRITISH, 20TH-CENTURY)
S.S. 'Discovery' viewed from the Embankment with Waterloo beyond, circa 1950
Oil on canvas
Signed 'James Lishman' (lower right); with gallery labels and inscriptions to reverse including artist's title: Early Morning / Thames Embankment / London
20 x 30in. (51 x 76cm.)
£200-400
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Giacomo D'ESPOSITO (ITALIAN, 19TH-20TH-CENTURY)
The training ship H.M.S. 'Cruiser' under sail
Oil on board
Signed 'D'Esposito 1890' (lower left)
14 x 20½in. (35.5 x 52cm.)
A Second Class steam screw sloop, Cruiser was launched 1852 and completed the next year; A veteran of the Crimean War, her engines were removed in 1872 (hence the lack of any funnel in this picture) and she became a sail training ship. Often seen in the Mediterranean, she was renamed Lark in 1893 and broken up at Malta in 1912
£300-500
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William Mackenzie Thomson (british, FL. 1870-1892)
The Guion Line armed merchant cruiser 'Alaska' under way, circa 1885
Watercolour heightened with white
Signed 'W.M.Thomson / New Brompton' (lower left)
11 x 17in. (28 x 34cm.)
An express steamer for the short-lived but famous Guion Line (later absorbed into Canadian Pacific), Alaska held the prestigious 'Blue Riband' between 1881 and 1884. She, along with her sister ship Arizona, were the first ships to be listed as Armed Merchant Cruisers - although neither in fact ever carried guns, W.M. Thomson's picture provides a glimpse of how they might have looked.
£200-400
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ENGLISH SCHOOL, 19TH-CENTURY
The masted turret-deck battleship H.M.S. 'Inflexible' under sail and steam, circa 1881
Initialled and inscribed in pencil 'SD May / 81' (lower right)
Watercolour heightened with white
11½ x 17½in. (29 x 43cm.)
£150-250
38.
Anthony Brandrett (british, 20th-century)
The Boston Tea Party - first light 17th December, 1773 (The Morning After)
Oil on canvas
Signed 'Anthony Brandrett' (lower left)
28 x 46in. (71 x 117cm.)
This interesting picture represents the culmination of several years' research, and a further two years on the easel before the artist was satisfied it represented an accurate account of this seminal event in American history. Typically the only images seen are the same few period engravings, often themselves done several years later, and often copying each other (together with their attendant inaccuracies) suggesting few, if any quality depictions survive. What is not generally recalled by artists is the inconvenient fact that the actual "Tea Party" - where the Sons of Liberty, some dressed as native Indians, ditched the cargoes of tea into the sea - took place at night making it much harder for artists to represent the scene.
Using maps and period references, the waterfront, or more specifically the long-lost Griffins Wharf, has been re-constructed as accurately as possible; as has the disposition of the three East India Company ships at the centre of the action - the Dartmouth, the Eleanor, and the Beaver. The men who met on the evening of the 16th December initially did so in the Faneuil Hall (the white building on the left in the painting). That however proved too small and so they transferred to the Old South Meeting House (seen here with a steeple on the right). News of the infamous Tea Act (and the implied right for the UK government to tax the Colonies) had reached them whilst the ships were in transit and so allowed time to consider a response. Numbering up to 130, the chairman (Samuel Adams) lost control of the meeting and the men, intent on taking direct action, spent three hours tipping some 342 cases of tea over the sides of the ships. This picture shows jubilant crowds assembling early in the morning with some pushing floating tea chests under the water. The British repercussions were swift and draconian and lead directly to the War of Independence in 1776.
£10000-15000
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δ Timothy Thompson (British, B.1951)
English and Dutch warships off the Dutch Coast
Oil on canvas
Signed 'Tim Thompson' (lower left)
20 x 30in. (51 x 76cm.)
Provenance: Christies's South Kensington, Maritime Paintings Sale, 30st May 1991, Lot 115
£1000-1500
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δ James Hardy (British, 20th-Century)
A squadron of the Red whaling in the Arctic
Oil on canvas
Signed 'JAMES HARDY' (lower right)
30 x 50in. (76 x 127cm.)
Provenance: Christie's South Kensington, British & Continental Pictures, 19th July 2006, lot 2123
£500-700
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JAMES MILLER HUGGINS (British, fl. 1836-1849)
A frigate of the Royal Navy sailing off a headland with lighthouse
Watercolour
Signed 'JM Huggins' (lower right)
8 x 10in. (20 x 25.5cm.)
£250-350
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ATTRIBUTED TO JOHN THOMAS SERRES (BRITISH, 1759-1825)
San Sebastian, northern Spain, from the north-west, with Mount Urgell in the distance
Pencil, pen and ink, and watercolour
8 x 21¾in. (20.5 x 55.5cm.)
£1000-1500
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JOHN CLEVELEY THE YOUNGER (BRITISH, 1747-1786)
A British frigate and other shipping off the coast of Tenerife
Pen, ink and watercolour
Signed 'J.Cleveley' (lower left) and inscribed 'Tenerife' on mount
7½ x 10¼in. (19 x 26.4cm.)
£500-800
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δ Frank Watson WOOD
(BRITISH, 1862-1953)
Training Ships at Gosport
Watercolour heightened with white
Signed 'Frank Wood 1912' (lower right); oringal gallery label for Harris & Sons, Plymouth no. 8224 and dated 23rd August 1912
9 x 21½in. (23 x 55cm.)
£1000-1500
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GEORGE STAINTON (BRITISH, 1838-1900)
Prison hulks lying off Portsmouth
Oil on canvas
Signed 'G. Stainton 1880' (lower right) with artist's title on verso inscribed 'Morning / G. S.'
9¼ x 12in. (23.5 x 30.5cm.)
£600-800
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ALBERT HERBERT
(BRITISH, 19TH-CENTURY)
Prison hulks lying off Portsmouth with fishing boat in foreground
Watercolour
Signed 'A Herbert / 43' (lower left)
6¾ x 9¾in. (17 x 25cm.)
Provenance: Fine Art Society London Ltd 1963 label to verso
£400-600
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William Lionel WYLLIE (BRITISH, 1851-1931)
H.M.S. 'Victory' at Portsmouth
Watercolour
Signed 'WL Wyllie' (lower left); label to reverse inscribed This watercolour is inscribed on the reverse 'H.M.S. Victory Saluting an Argentine Cruiser'
8 x 12½in. (20 x 32cm.)
£600-800
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A SUBSTANTIAL OAK FRAME SECTION FROM H.M.S. VICTORY IN SERVICE CIRCA 1765-1922
with carpenters rase marks inscribed along one side reading No.39 rr x 1814x X [or] VIIII / I\, with three large iron and alloy pins extruding from the obverse with a single pin on the reverse (old wear, marks, holes etc., rase mark partially rubbed) - 6 x 76 x 13in. (15 x 193 x 33cm.)
Provenance: H.M.S. Victory, removed between 1922 and 1959; sold to Victory Ltd in 2000 and Victory Oak Ltd, 2006
Literature: McGowan, A: H.M.S. VICTORY / Her Construction and Restoration, Caxton Editions, 1999, p.93.
A 'rase mark', made using a special rase knife, is a Timber Master's method of instructing the carpenters as to the location of beams that needed to be removed or repaired in refits, thus a ship could generate huge numbers which needed to be put back in the right place. This beam is thought to have come from deep within the main body of the ship from the upper deck area have been decoded "Beam Number 39 (Richard Mosebury) 1814 9 [or] 13 feet above [replaced]", indicating that it was the thirty-ninth beam (in a location known only to the Timber Master), and was originally either nine or thirteen feet in length - the confusion being caused by the 'X' being either the Roman numeral for '10', or a cancelled '1'. The Timber Master responsible was Richard Mosebury - there being no Timber Master using the initials 'rr', it is likely these copy marks were made by an illiterate carpenter. Although this repair took place in 1814, the beam has several witness marks suggesting it's much older and likely to have formed part of the original build.
This lot will be available for viewing at Imperial Road
£10000-15000
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AN OAK KNEE SUPPORT FROM H.M.S. VICTORY, IN SERVICE CIRCA 1765-1922
the shaped knee with remnant rase marks inscribed [N]o 1792 x 1815 (old pin holes and cut marks, wear, rase marks partially missing, evidence of old worm damage), approximately - 10 x 35 x 15in. (25.5 x 89 x 38cm.)
Provenance: H.M.S. Victory, removed between 1922 and 1959; sold to Victory Ltd in 2000 and Victory Oak Ltd, 2006
Literature: McGowan, A: H.M.S. VICTORY / Her Construction and Restoration, Caxton Editions, 1999, p.132.
This beam once formed part of the rider frame assembly and was one of a pair of beams which supported the main knee in the lower hull. The rase marks are hard to determine partly because the lower half of the latter number is missing, it having been carried over on to a sister timber which is long gone, but continuing the straight-line lettering, it is possible to accurately complete them. Whilst the exact location is now lost to history - Timber Masters not recording their numbering systems for posterity - it is thought this one came from the environs of the orlop deck. The beam has witness marks that show it was part of Victory's original construction in 1765; foremost amongst these is the damage caused by using iron pins - normal before copper sheathing was introduced but phased out as refits allowed thereafter. The problem had been recognised in 1768, but it was only in 1783 that the Admiralty actually issued an order to replace iron bolts with copper. The Victory was copper sheathed in 1780 but it was not until her Great Repair of 1800-1803 when approximately 88% of her was replaced that the problem was finally resolved with these deeply embedded sections. In addition, as Victory was nearing completion in 1765, the War with France came to an end and so the rush to complete her was no longer pressing. Laid up in ordinary for several years, there is still evidence of the white wash and green paint used then as a preservative prior to her being fitted for service.
This lot will be available for viewing at Imperial Road
£10000-15000
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A RARE BOOKCASE/DISPLAY CABINET MADE FROM FOUDROYANT OAK AND COPPER BY GOODALL, LAMB & HEIGHWAY, CIRCA 1899
modelled as a ship's stern and quarter lights with copper strap hinges and banner inscribed 1798 FOUDROYANT 1801, carved wreaths and rope border, rudder head and securing chains, copper maker's provenance label secured within - 40 x 64 x 19in. (101.5 x 162.5 x 48cm.)
Item no.36 in Goodall's catalogue is described as Wall Cabinet in 'Foudroyant' oak, with finely-modelled copper enrichments, &c. Suggested by the stern of the 'Foudroyant'. £60. 0s 0d. Originally there would have been a shaped taffrail with lamps and a profile of Nelson in copper.
£4000-6000
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