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1.11 PAINTING. Turn-of-the-last century American oil on canvas
ship's portrait of a 2-masted schooner underway at sea with all sails
set. This distinctive broadside view is well detailed depicting
standing and running rigging, deck equipment and even reefing lines
on the sails. The schooner plies a realistic deep blue sea signed
lower left, "P. E. Collins." The painting 13 1/2 by 19 1/2 inches
sight and is in untouched original condition. It is on its original
old wooden stretcher mounted within a handsome ornate gilt gesso
frame measuring 21 1/2 by 27 inches overall. A good oil on canvas
ship's portrait done by a listed American artist over 100 ago.
895
Dororthy Brewington, "Dictionary of Marine Artists," 1982, Mystic Seaport Museum, shows "Paul E. Collins," American oil and watercolorist listed in the Boston directories in 1882, 1889-92, 1898. Examples of his works are in the collection of the Peabody Museum, Salem, Massachusetts.
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1.20 PAINTING. William Chimmo, British, 19th century, watercolor on
paper of the Royal Navy frigate "EURYDICE" as titled lower center.
This lovely ship's portrait is done with incredibly exacting detail.
Chimmo was an officer in the Royal Navy and his intimate familiarity
with the rigging of sailing ships is expertly evidenced in this work.
EURYDICE is depicted at anchor in a calm sea, with a Chinese
war junk anchored nearby and a steam/sail vessel aft on the horizon.
Execution of all details is of the highest caliber. The painting is
signed and dated lower right "W. Chimmo, Del. 1878." Condition is
original, as found with no damage. The heavy card medium is stable
and very sound, however it has toned with age and some of the colors
are slightly faded. The image measures 11 1/2 by 15 inches sight and
is professionally matted in its original gilt liner, housed under
glass in an ornate gilt frame measuring 24 by 27 1/2 by inches.
Interestingly an original printed poem entitled "EURYDICE" is affixed
to the back of the actual painting. A photocopy was made and is now
attached to the back of the framing. An historic ship's portrait by a
well listed British artist 1695
William Chimmo was a Lieutenant in the Royal Navy. In 1849 he did paintings of the vessels involved in the famous Franklin Search party in the Arctic. In 1860 he published a work entitled Euryalus with his own illustrations. Examples of his works are in the National Maritime Museum, Greenwich, England and the New Brunswick Museum, St John, Canada.
Why HMS EURYDICE, the Island of Cowe's ghost ship, sank on March 22nd 1878 is a mystery which has never been fully explained. Of the 366 men onboard, only 2 survived.
The 921 ton 26-gun frigate HMS EURYDICE was launched in 1843. She was designed to be fast with a sleek wooden hull and broad expanse of sail, and was considered to be one of the finest vessels in the Royal Navy. In 1876 she underwent a routine refit at J. Whites shipyard at Cowes, and was deemed to be in top condition after recommisioning in Portsmouth on February 7th of that year.
By the 1870's iron ships and ironclads had made wooden warships obsolete on the front-line. Accordingly EURYDICE was converted into a training vessel. Under the command of Captain Hare she departed Portsmouth on November 13, 1877 for a successful cruise to the West Indies and Bermuda. On March 6, 1878 she headed back to England.
EURYDICE crossed the Atlantic in only 16 days. By all accounts she handled perfectly. Arriving off the Isle of Wight on 22nd March at 1500, the Bonchurch Coastguard Station recorded, "moving fast under plain sail, studding sails on fore and main, bonnets and skyscrapers." By 1540 she was sailing beside Sandown Bay.
Suddenly a great squall bore down on the bay with blowing snow and ice. Yet, according to eye witnesses, EURYDICE continued under full sail with her gun ports open before disappearing in the midst of the blizzard. Why she was sailing with open gunports has never been resolved.
One of the two survivors stated that Captain Hare had ordered the sails to be taken in, but that the order was impossible to obey since blizzard conditions reduced visibility to zero. The frigate was blown to the southeast and capsized onto her starboard side allowing the sea to rush in through the open gun ports. Most of the crew were trapped as the ship rapidly sank.
HMS EURYDICE was raised soon after the disaster, but never recommisioned. Her bell now hangs in St. Paul's Church, Shanklin. Gerard Manley Hopkins composed a short poem about her:
Too proud, too
proud, what a press she bore!
Royal, and all her royals wore.
Sharp with her, shorten sail!
Too late; lost; gone with the
gale.
Significantly, the sinking of EURYDICE caused the Royal Navy to abandon sail training. From then on Royal Naval Officers were no longer required learn how to handle and reef sail. It was a final recognition that the days of the traditional man-o'-war were over.
The legend of HMS EURYDICE's haunting began on the very day she sank. On the afternoon of the March 22, 1878 in Windsor, the Bishop of Ripon and Sir John MacNiell were dining with Sir John Cowell when MacNiell suddenly exclaimed, "Good Heavens! Why don't they close the portholes and reef the sails?" When asked by Cowell what he meant, he replied that he didn't know, but had had a vision of a ship coming up the Channel under full sail with her gunports open while a great black squall attacked her.
Since EURYDICE sank, several people have witnessed sightings of a phantom three masted ship which vanished when approached. Many of those were blamed on "freak reflections of light on mist". Yet in the 1930's Commander Lipscomb was in command of a submarine which was forced to take evasive action to avoid striking a full-rigged ship which then promptly vanished!
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1.55 PAINTING. Dramatic 19th century oil painting by noted
Australian maritime artist Charles F. Gerrard, as signed and dated
lower left, "C. F. Gerrard 1886." This is a provocative painting
which depicts fishermen plying their trade off of jagged rocky cliffs
in the moon light. Beyond, a large cutter is outward bound with a
backdrop of the White Chalk Dover Cliffs in the distance. With
moonlight eerily illuminating the scene, a sense of calm and
foreboding are simultaneously elicited, as the fisherman go about
their work while waves crash into the rocks only a short distance
away! This antique oil painting is done on artist's board and bears
the original label on the reverse of "Windsor & Newton, Limited.
Artist's Colourmen to Her Majesty, North London." It is in
outstanding original condition with no inpainting or restoration,
complete in its original carved wooden, gessoed gilt frame. The
painting itself measures 18 x 23 1/2 inches sight, and the frame
measures 24 1/2 by 30 inches. A very well presented painting with
pleasing subject matter, by a respected marine painter of the
period. 1500
Daina Fletcher, Senior Curator of the Australian National Maritime Museum, in a letter dated 17 February 1992, writes, "Charles Gerrard was an Australian artist who worked in Sydney from the early 1880s to around the turn of the century. He is first listed in the trade directories under the artists category in 1882. The name appears in various guises - as CF Gerrard, CF Gerard and GF Gerrard - all of whom I feel are the same person. His trade is first listed as painter then marine artist and later artist. In 1884 and 1885 he exhibited coastal views and fishing scenes with the Royal Art Society in Sydney. These were quite well received in contemporary reports." A copy of this letter will be provided to the purchaser.
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1.18 FAMOUS AMERICAN SILKWORK.
Thomas Willis, American (worked
1875-1910), silk embroidery and oil on canvas. This classic Willis
silkwork depicts the famous New York Yacht Club steam yacht
MIRAGE. The sleek and powerful yacht is seen from the port
side underway with the New York Yacht club burgee flying from the
jackstaff, the owner's burgee of New York tycoon Cornelius Vanderbilt
flying from the mast and the American yachting ensign aft. Adding to
its fame, the MIRAGE was built by Nathaniel Herreschoff, recognized as
the greatest yacht builder in American history! With his typically
amazing detail in this delicate medium, Willis shows the helmsman at
the wheel with a skylight binnacle leading the way. Two uniformed
sailors are on deck and the yacht's captain sits just forward of the
mast. The owner (Vanderbilt himself) and another are shown lounging
in deck chairs under the canopy aft with a steward in attendance. The
vessel name "MIRAGE" is finely embroidered as a nameboard just under
the funnel. Many other minute details are present such as the capstan
forward, deck fittings, curtained windows, whistle, lifelines,
lifeboat and lifering. Signed lower right, "T. Willis." This painting
measures 18 by 31 inches sight and is housed in its original ornate
gilt frame with gold liner under old wavy glass measuring 25 by 39
inches overall. The frame is exquisite. The oil on canvas painting
bears expected age cracilature and there are a few professionally
applied reinforcements on the back of the canvas. The silkwork
embroidery is in perfect condition with bright colors, no losses and
no loose threads. Willis' meticulous stitchery is fully visible on
the back. Overall condition can certainly be rated as excellent.
Circa 1900.
Undoubtedly this mixed media ship's portrait was personally commissioned of Willis by Mr. Vanderbilt. Cornelius Vanderbilt III (September 5, 1873 - March 1, 1942) was born into the wealthy and powerful Vanderbilt family, the namesake having amassed a fortune expanding American railroads Westward after the Civil War. Called "Neily" by his friends, the younger Vanderbilt did not rest on his grandfather's laurels however. He was a businessman, inventor, engineer, decorated military officer and yachtsman. Yachting was one of Neily Vanderbilt's favorite pastimes which provided him an escape from a busy life that included a seat on the board of directors of several major American corporations. In 1910, he piloted his yacht to victory in the New York Yacht Club's race for the "King Edward VII Cup."
Thomas H. Willis was born in Connecticut in 1850. By 1875 he had perfected a technique of depicting ships using silk thread embroidery. He moved to New York where he found a greater market for his works. He was a contemporary of famous marine artist Antonio Jacobsen and there is evidence that the two artists actually collaborated on some of their ships portraits. Willis' work is publicly displayed in a number of institutions including the Mariner's Museum, Newport News, Virginia, Mystic Seaport Museum, Connecticut and the Peabody Museum of Salem, Massachusetts. Many of his works were signed with the monogram of a conjoined T and W. This painting bears his full signature.
The fast steam yacht MIRAGE was a wooden hull vessel of 75 feet in length displacing 30 gross tons. She was built and launched by Nathaniel G. Herreschoff in his Bristol, Rhode Island yard in 1900. Later in her life the yacht was retrofitted with with gas engines. MIRAGE was still in service as late as 1925 under different ownership. (Lloyd's Register of American Yachts, 1925).
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1.16 SHIP PORTRAIT. Mid-1900's ship's painting by well listed Japanese
marine artist T. Hagiwara as signed lower left "T. Hagiwara,
Yokohama, Japan, 1957." This lovely painting with its exacting detail
is a watercolor done on silk. It portrays the famous West Coast liner
H. F. ALEXANDER as titled lower center and prominently identified on
the vessel's bow. Stack markings of the Admiral Lines, Pacific Steam
Ship Co. are also quite visible on the vessel's two funnels. This
ship's portrait is a very unusual "bird's eye view" showing the
entire vessel with its upper decks from the starboard side, as it
plies the vast blue-green Pacific Ocean. 15 by 19 inches sight and
housed in its original black walnut frame under glass measuring 18
1/2 by 23 inches. Virtually mint condition
in all respects. 1495
Nicknamed the "Galloping Ghost of the Pacific Coast" the H.F. ALEXANDER was launched as the GREAT NORTHERN in Philadelphia in 1915. She was a 9,708 ton steam turbine passenger liner operated by the Great Northern Steamship Company. On her first voyage from Honolulu to San Francisco she made the transit in 3 days, 18 hours and 15 minutes, setting a speed record that lasted for more than 40 years and garnered her nickname. In 1917 she was acquired by the U.S. Navy and renamed USS GREAT NORTHERN. In mid-August 1919 USS GREAT NORTHERN was transferred to the War Department to begin service as a U.S. Army transport under the U.S. Shipping Board. During 1919 and 1920 she made several voyages in the Pacific and to Europe. In the brief period from August 1921 until March 1922 she served as administrative flagship of the U.S. Atlantic Fleet under the name USS COLUMBIA (AG-9). Decommissioned in March 1922, the ship was purchased by Hubbard Foster Alexander and became the namesake flagship of his shipping company the Admiral Lines. During the next decades H.F. ALEXANDER successfully made the passenger run between San Francisco and the Orient. As World War II approached she was sold, briefly to British ownership before rejoining the U.S. Army in July 1942 as theGENERAL GEORGE S. SIMONDS. In this capacity as a troop transport the ship served until March 1946. Regaining the name H.F. ALEXANDER, she was laid up in the Maritime Commission's reserve fleet facility at Lee Hall, Virginia until she was finally scrapped in Philadelphia in early 1948.
In John H. Kemble's "A Pictorial History of San Francisco Bay," 1957, Bonanza Books, New York, a photograph on page 149 (shown as PLATE 1) is captioned, "The high point of the coastal liners.... In 1915 James J. Hill placed the steamersGreat Northern and Northern Pacific on the run between Flavel, Oregon, at the mouth of the Columbia River, and San Francisco on schedules which rivaled the Southern Pacific trains. After World War I, Great Northern, renamed H. F. Alexander, returned to the Pacific Coast and plied between Seattle, San Francisco and Los Angeles during the summer season from 1922 until 1936. Faster than Harvard andYale, she was not an economical ship to operate, but was literally a pace-setter for the Pacific Steamship Co."
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1.15 PERIOD PRINT. Early 1900's stone lithograph boldly entitled, "Ship "Flying Cloud" ~ Built at East Boston in 1851 by Donald McKay"" in lovely script across the bottom. It is signed lower left "A. Clive Edwards." and "Copyright 1923, Foster Bros. Boston" lower right. This large chromolithograph depicts the grand vessel on a starboard tack with the crew unfurling the mains'l. A number of crewmen are clearly visible on deck, including men manning the foc'sle capstan forward, while aft the captain views a ship on the horizon with his telescope! The image measures 16 by 22 1/2 inches sight and is housed under old wavy glass in its original simple wooden frame with gold trim measuring 21 by 27 1/2 inches. One faint stain extreme upper right. But overall this fine old print must be rated as being in excellent condition with good color. An original print with most desirable subject matter over 80 years old. 495
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1.04 MIXED MEDIA PAINTING.
Important, late 19th century
portrait of the USS
OLYMPIA Admiral Dewey's flagship
during the Spanish-American War. This highly unusual mixed media art
form is done in watercolors on silk, enhanced with delicate silk
embroidery on the surrounding field. The beautifully rendered
painting meticulously portrays this famous ship underway at sea. It
is executed with exacting detail in bright, pleasing colors in high
resolution. Surrounding the image of the ship is a double-bordered
gold "frame" surrounded by delicate silk embroidery depicting an
anchor, chain and floral sprays on a subtle, pastel blue background
of silk. The entire presentation is housed in a handsome hexagonal
mahogany frame protected by its original old wavy glass. The back is
completely sealed with original green oil skin-type cloth bearing the
framer's label, "Pictures, Framing. SBF. Grand-Leader, St. Louis."
The central image measures 9 by 12 inches and the frame 21 12/ inches
wide by 20 1/2 inches high on the flats. In our experience with such
media this represents an unusually bright and colorful example. The
entire presentation is in excellent
original condition in all respects, with no damage, but there is some
staining along the periphery of the silk background. Circa 1896. An
incredible price for authentic, historical artwork over 100 years
old! 995
The battle cruiser
OLYMPIA is arguably the most famous ship in American Naval
history, and certainly the most famous U.S. Naval vessel still in
tact! She was launched on November 5, 1892 by the Union Iron Works of
San Francisco and commissioned on February 5, 1895. In August of that
year OLYMPIA departed Mare Island, California to take up station
as flagship of the Asiatic Squadron. In the ensuing three years
OLYMPIA visited ports in China, Japan, and the Philippines,
wintering in Hong Kong Harbor. It was during this time,
prior to the Spanish-American War, that this painting of
her was executed!
When War with Spain was declared on April 25,
1898, OLYMPIA sailed out of Hong Kong with the Asiatic Fleet
enroute the Philippines, under the command of Captain Charles V.
Gridley with Commodore George Dewey embarked as Fleet Commander.
On May 1, 1898, OLYMPIA led the
Squadron in a line of battle against the Spanish Fleet. The opening
salvo began with the immortalized command given by Commodore Dewey to
Captain Gridley, "You may fire when ready, Gridley." When the smoke
cleared the Spanish fleet had been decimated, suffering horrific
losses of ships and men. Dewey's squadron on the other hand counted
only a few wounded.
After the battle, OLYMPIA took part in
the blockade and ultimate capture of Manila itself. On May 20, 1899
OLYMPIA headed back to the United States, bound for Boston
via the Suez Canal. She arrived to a hero's welcome at Sandy Hook,
New York on September 26, 1899.
On November 8, 1899, OLYMPIA was
decommissioned for overhaul. She was updated; her torpedo tubes
removed, her fighting tops removed, hawsepipes relocated and her bow
ornament replaced with ornate gilt scrollwork and figurehead, among
other changes. She was recommissioned in 1902 and served as the
flagship of the Atlantic Fleet. After intermittent service in both
the Caribbean and Mediterranean, OLYMPIA was again
decommissioned in April 1906. But she was recommissioned again in
1916 as it became clear that the United States would soon enter the
Great War. She entered the War as the flagship of the Patrol Force
Atlantic Fleet. During that time she escorted convoys and patrolled
off of Nova Scotia.
After the War, OLYMPIA cruised in
the Mediterranean and the Adriatic Seas, finally returning the United
States at Charleston, South Carolina in November of 1919. Then in
February 1920 she left New York for the Adriatic again as the
flagship of the Atlantic Fleet, returning to Philadelphia in May
1921.
In July of that year General Billy Mitchell
performed his famous demonstrations to prove the value of Naval
airplanes by sinking the old German battleships FRANKFURT and
OSTFRIESLAND off the Virginia coast. OLYMPIA took part in
those actions which demonstrably ushered in air power as the most
significant advance in naval warfare in history!
In October OLYMPIA again
departed for Europe. This time she was dispatched to Le Havre, France
where she embarked the remains of the American Unknown Soldier for
burial in Arlington National Cemetery. Her last Atlantic crossing was
begun on October 25, 1921, and she arrived at the mouth of the
Potomac on November 9. OLYMPIA was
thereafter used as a training ship until her final decommissioning on
December 9, 1922 in Philadelphia.
The historic old lady OLYMPIA is presently
permanently docked at Penn's Landing in Philadelphia, as a museum
ship under the auspices of the Independence Seaport Museum. She is
one of only four warships from the late 1800's that still exist in
the world!
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1.14 PAINTING. Important, large and impressive marine painting by
the famed ship artist Antonio Nicolo Gasparo Jacobsen
(Danish-American, 1850-1921). This spectacular oil on canvas painting
depicts the graceful steam/auxilliary sail passenger ship
APACHE underway at sea. In a portside ship's portrait
Jacobsen has captured the essence of this well known vessel in a
fresh breeze with sails furled and name pennant, house flag and
American ensign flying. As the ship plies choppy deep green seas,
puffy cumulus clouds punctuate the azure sky while wisps of smoke and
steam spill from the large solitary smoke stack. This especially
pleasing rendering is boldly signed lower right "Antonio
Jacobsen/Palisade Av. Division St./West Hoboken, NJ" and dates to
1904. It is housed in a simple wooden frame with gold liner measuring
35 by 55 inches. The painting itself measures 30 by 50 inches sight
and is on its original wooden stretcher. It has just been
professionally cleaned and relined. There is very little inpainting
in evidence under ultraviolet light. What little there is consists of
a few small areas in the sky only. There is no retouching to the
vessel itself. Excellent, ready to display condition.
The much heralded steam/sail passenger ship APACHE was launched by William Cramp & Son Shipbuilders, Philadelphia, PA in 1901. She was successfully operated by the Clyde Steamship Company out of her home port of New York during a profitable career which spanned 27 years.
Literature:
Harold Sniffen, "ANTONIO JACOBSEN The
Chesklist," 1984, The Mariner's Museum, Newport News, VA, pages
32-33, item number 31. Dated 1904.
Harold Sniffen, "Painted Ships on Painted Oceans," The Mariner's
Museum, Newport News, Virginia, 1994, full page color photograph page
133.
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1.12 PAINTING. Luis Luca Papaluca, Italian (1890-1944), gouache on
paper painting entitled "U.S.S. McDOUGAL" underway off Naples, with
Mt. Vesuvius in the distance. A pleasing, very colorful ship's
portrait skillfully executed by this well-listed artist. All of the
ship's details are beautifully rendered with numerous crewmen visible
on deck. The painting measures 16 by 24 1/2 inches sight and is
signed lower right "L. Papaluca." It is housed under glass in its
original simple wooden frame with brass-reinfoced corners measuring
17 by 26 inches. Circa 1940. Outstanding original
condition. 895
The second U.S. Navy ship to bear the name McDougal was laid down by the New York Shipbuilding Corp., Camden, N.J. on December 18, 1933, launched July 17, 1936 and commissioned as destroyer 358 on December 23rd that same year.
USS McDOUGAL (DD-358) first
operated in the Pacific with Destroyer Squadron 9 out of San Diego,
California. In the Spring of 1941 McDOUGAL returned to the
Atlantic to escort the cruiser AUGUSTA with President Franklin
D. Roosevelt embarked for a meeting with Prime Minister Winston
Churchill in Newfoundland. On August 10, McDOUGAL transported
FDR to and from the meeting on the ill-fated British Battleship
HMS PRINCE OF WALES.
Upon America's entry into World War II
McDOUGAL patrolled off the South American coast until early
September 1942 when she passed through the Panama Canal for duty with
the Southeast Pacific force off the coast of Latin America.
Going back to the Atlantic via Cape
Horn, McDOUGAL returned to New York in September 1944.
McDOUGAL finished out the War escorting convoys between New
York and British ports. She was struck from the Naval record on
September 22, 1949.
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1.90 PAINTING. A. Leach, American, 19th century, oil on artist's
board of a square-rigged steam/sail vessel, signed lower right, "A.
Leach" in a very artistic manner. The large ship is identified on the
quarterboard as the FURNESSIA and is
depicted plying one of the Great Lakes. The vessel is of Canadian
registry as evidenced by the "Old Duster" flying from the jack staff,
the Canadian ensign at the stern, and is bound for an American port,
indicated by the American ensign flown from the truck. It flies a red
anchor house flag from the after mast as well as a pennant reading
"US." Of special note is the fact that this rendering is done on the
Great Lakes in the 1800's -- an infrequent and highly sought after
genre of American marine painting. In testament to the fact that the
setting is a lake, the shoreline is visible on the entire horizon,
with a lighthouse and various shipping clearly visible in the
background. This painting is well executed with much detail. It is in
an outstanding state of original preservation with absolutely no
inpainting and the surface has acquired a very nice variegated "dry"
look with age. It measures 18 by 24 inches sight and is housed in its
original ornate gesso frame with bright original gilding measuring 22
by 28 inches. Overall a very nice 19th century marine painting with
interesting subject matter by a listed American artist. 995
Dorothy Brewington in "Dictionary of Marine Artists," 1982, Peabody Museum, Salem, Massachusetts lists A. Leach as being active in Oshkosh, Wisconsin from 1845-1885.
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1.13 PERIOD PRINT. Very dramatic, period stone lithograph entitled "U.S. NAVY - NAVAL BATTLE OF MANILA BAY - MAY 1st, 1898." It is signed lower left in script "Werner" below which is the printed name "The Werner Company, Akron, O." On the lower right is written "Copyright 1899 by the Werner Company." This colorful depiction of Admiral Dewey's famous battle shows a column of American battleships firing on and sinking several Spanish warships in the distance. The image itself measures 9 x 13 inches sight, is clear and bright and in absolutely PERFECT condition. It is on heavy paper with full margins measuring 12 x 16 inches. There are a couple of tiny tears in the top periphery and another mended tear about 2 inches long at the bottom -- insignificant with proper matting. A great value for an authentic print over 100 years old. Was 195 NOW! 95
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1.07 EARLY WATERCOLOR. Fine original 19th century watercolor of the steam/sail U.S. Navy frigate USS ALLIANCE at sea under full sail with her steam auxiliary. This genuine ship's portrait was done from life by very well-listed 19th century marine artist James Scott Maxwell and is initialed and dated "J.S.M. 1879" lower left. This is a very colorful and highly realistic rendering of this handsome vessel. It shows fine detail including guns in their gun ports, crewmen on deck and 2 vessels on the horizon. The ALLIANCE is shown flying her commissioning pennant from the mainmast and the Stars and Stripes from the after mast. It is titled across the bottom "United States Corvette "Alliance". 6 Guns. 1375 Tons. 571 H.P. 183 L. 35 B. 14 D. Bt Norfolk, 1875. G.Q.B.N. 185 Men 9 knots." The image itself measures 6 by 9 1/2 inches and is housed under old glass in its original ornate gilt frame measuring 10 by 13 1/4 inches overall. Outstanding original condition in all respects -- clear and bright. A very nice original U.S. Navy ship painting from the days of steam and sail well over 100 years ago. 950
The USS ALLIANCE, a
screw gunboat laid down as a third rate ship of the line in 1873 at
the Norfolk Navy Yard was launched on March 8th, 1875 and
commissioned on January 18, 1877, Cdr. Theodore F. Kane in
command.
On 25 August 1877 ALLIANCE sailed for
Europe, spending eight months in the eastern Mediterranean. In early
January 1878 she sailed for France and returned to Smyrna, Greece in
February, bringing with her supplies for other ships of the U.S.
squadron there.
During 1879, ALLIANCE carried out
much the same routine as in her previous time with the European
Squadron, ultimately returning home to the United States via Britain,
late in the year, reaching Boston on December 8, 1879. It was during
this time period and her port visit to Plymouth that this painting
was rendered.
After completing an extensive overhaul in
Norfolk in April 1880, ALLIANCE proceeded
to the Newfoundland Banks, to "search for and establish positions of
rocks and shoals" reported by shipping in that area. For the next
several years ALLIANCE took up
duties as a training ship attached to the Atlantic Training
Squadron.
In 1902 ALLIANCE visited
Queenstown, Ireland, Lisbon, Algiers, and Madeira before undergoing
voyage repairs at the Norfolk Navy Yard. Subsequently she sailed to
Trinidad, St. Kitts, San Juan and Jamaica before arriving back in
Hampton Roads in June 1903. The following year, ALLIANCE was among
the ships reviewed by President Theodore Roosevelt at Oyster Bay,
Long Island, on August 17, 1904.
The ship's final assignment commenced soon
thereafter, when she was dispatched to Culebra, Puerto Rico, to serve
as the Naval Station store ship. Regarded as "unserviceable for war
purposes," ALLIANCE was decommissioned in San Juan on July 7,
1911.
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1.05 IMPORTANT SAN FRANCISCO EARTHQUAKE
COMMEMORATIVES. Period grouping
consisting of two genuine items documenting the famous San Francisco
Earthquake and Fire. Both items date 1906. The first is an
impressive, large stone lithograph entitled "DESTRUCTION OF SAN
FRANCISCO BY EARTHQUAKE AND FIRE, APRIL 18th, 1906." It is signed
lower left "Copyright 1906, Francis Fiske, 1778 Post, San Francisco"
and marked "Louis Roesch Co., Lith. S.F." lower right. Below the
title is the startling line, "Every Building Shown In The Above
Picture Was Destroyed By The Great Fire." The image itself is
extremely detailed and colorful depicting the entire city of San
Francisco including the Bay and Oakland beyond. In the foreground
terrified residents can be seen scurrying for their lives on every
street. The print additionally identifies many prominent landmarks
such as "Telegraph Hill, The Hall of Justice, St. Francis Hotel, City
Hall," etc. The print is house in its original gilded wooden frame
under old wavy glass. The image size is 11 by 35 1/2 inches sight,
with the print size being 15 by 39 inches and the frame measuring 19
by 43 inches overall. Condition is absolutely outstanding and
completely original. There is some very minor toning and spotting to
the border of the print in the extreme right margin only and some
expected light oxidation on the frame. The print itself is
perfect!
The
second item in this offering is a book by Hubert D. Russell entitled
"Complete Story of the San Francisco Horror by the Survivors and
Rescuers," Copyright 1906. This hardbound book in blue cloth cover
with gold embossing contains 408 pages comprising 24 chapters with 71
pictures. Among the chapter titles are: "The Doomed City, San
Francisco A Roaring Fire, Thrilling Personal Experiences, Fighting
Fire With Dynamite, Volcanoes and Earthquakes Explained," etc.
Perhaps the most intriguing chapter is entitled, "Chinatown, A Plaque
Spot Blotted Out. An Oriental Hell within an American City - Foreign
in Its Stores, Gambling Dens and Inhabitants - The Mecca of All San
Francisco Sight Seers - Secret Passages, Opium Joints and Slave Trade
Its Chief Features."! This rare book of which only a few hundred
copies were ever originally published is certainly one of only a
precious few which survive! It is in an amazing state of original
preservation with only slight fading to the cover. A rare, historical
offering on the centenary of THE greatest natural disaster in
American history!
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PLATE 1 |
PLATE 2 |
PLATE 3 |
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1.98 CHINA TRADE PAINTING.
Fourth quarter of the 19th century
oil on canvas rendering of the steam/auxiliary sail White Star Lines
ship GAELIC underway in storm tossed seas with all sails furled.
This impressive starboard side ship portrait is done with the
incredible detail for which the finest Chinese port painters were
revered. The brush strokes defining the lifelines for example are no
wider than a strand of hair! The majestic vessel's details are
faithfully portrayed including two navigators on the bridge. All
standing and running rigging is delineated and the vessel name is
clearly seen on the bow. The painting measures 16 1/2 by 23 sight. It
was relined over 50 years ago, judging by the age of the canvas, and
is on its original stretcher. It is housed in a magnificent period
ornate gilt gesso frame measuring 24 1/2 by 31 inches overall.
Inspection under uv light reveals a small amount of inpainting,
primarily in the sky in front of the forward mast and just aft of the
smokestack, neither of which is visible to the naked eye. A lovely,
early ship's portrait painted during the very brief golden era of
steam and sail!
GAELIC was owned and operated by the famed White Star Lines, parent company of the ill-fated TITANIC 40 years later.
On July 22, 1873, GAELIC made her first New York arrival, six months after her maiden voyage in White Star's South American service. This story was printed in the "The New York Times" the next day:
The White Star steam-ship GAELIC, Capt. John W. Jennings, which left Liverpool on July 10, arrived at this port yesterday. The GAELIC was built for the South American trade, and she has made a few trips from Liverpool to Valparaiso. She is a freight vessel of 2,651 tons burden, and has but small accommodation for passengers. She was sent out to supply the place of the steam-ship REPUBLIC in carrying the weekly mails to Liverpool on Saturdays. It will be remembered that a month or two ago the REPUBLIC met with a serious accident, which caused her to lay up for repairs. The GAELIC will leave this port on Saturday next with the mails.
Interestingly, a transcription of a U.S. Supreme Court case from 1889 documents that fact that the GAELIC made passage(s) to China where this painting was made:
This case comes before us on appeal from an order of the circuit court of the United States for the Northern district of California, refusing to release the appellant, on a writ of habeas corpus, from his alleged unlawful detention by Capt. Walker, master of the steam-ship Belgic, lying within the harbor of San Francisco. The appellant is a subject of the emperor of China, and a laborer by occupation. He resided at San Francisco, Cal., following his occupation, from some time in 1875 until June 2, 1887, when he left for China on the steam-ship GAELIC, having in his possession a certificate in terms entitling him to return to the United States..."
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1.97 CHINA TRADE PAINTING. Original late 19th century oil on board ship's portrait of a steamer identified as the "HANOI." This starboard broadside view of the vessel is presented in a manner typical of the Chinese port painters during the 1800's. It shows the vessel plowing through heavy storm seas with waves breaking in the foreground and ominous skies in the background. Details of the ship are meticulously executed. Several crewmen are depicted on the bridge. The vessel's name is clearly shown on the starboard bow and again in Chinese characters on the nameboard just aft of the starboard running light. The painting is a nice size, 12 1/2 by 18 1/2 inches and is house in a period, antique gesso frame with floral motifs in an old gold finish. The frame measures 19 1/2 by 25 1/2 inches overall. Fine condition throughout. Ready to hang. 995
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1.95 AMERICA'S CUP RACE PAINTING.
Genuine, 4th quarter of the 19th
century oil on canvas rendering of the famous America's Cup yacht
race between defender PURITAN and
challenger GENESTA in 1885. This fine painting depicts one of the most
famous incidents in American yacht racing history, the beginning of
the first race on the New York Yacht Club's "Inside Course" around
the Sandy Hook Lightship, on September 8, 1885. The PURITAN on the left,
flying the New York Yacht Club burgee is seen crossing the bow of
GENESTA, flying the Royal Yacht Club pennant. Seconds later
the two were involved in a collision that would be talked and written
about for years to come. This lovely painting is precisely executed
with good color and detail. Several crewmen are depicted on the decks
of both yachts, including one in GENESTA
's
rigging. The painting measures 13 by 18 inches sight and is housed in
its original, exquisite ornate gilt gesso frame with nautical shell
motif. The frame measures 18 1/2 by 23 1/2 inches overall. The
painting is in overall excellent condition, is on its original
stretcher and is not relined.
Inspection under uv light reveals there is some inpainting, primarily
in the sky above and in the topsail of PURITAN. There are
no patches or repairs. This is a lovely oil on canvas painting with a
most desirable subject matter, painted period to the event.
The Boston-built PURITAN was designed and built by a little-known (at the time) young designer, Edward Burgess, and was launched in May of 1885. Its destiny was to face Britain's fastest challenger to date, the "knife blade" cutter GENESTA designed by famous British naval architect J. Beaver Webb. GENESTA had already posted a great number of victories over her sisters in British waters. So it was with a great deal of anticipation and apprehension when the two elegant vessels first faced off on September 8, 1885. When the starting gun signaled 2 minutes to cross, both yachts maneuvered for the starting line at a great rate of speed, GENESTA on a starboard tack and PURITAN on a port. Although PURITAN was slightly ahead, she was not far enough to cross GENESTA. Nevertheless, her helmsman maintained the course causing GENESTA to ram into PURITAN's mainsail, snapping off the former's bowsprit. The resulting foul was committed right in front of the committee boat LUCHENBACH. And whereas the committee offered to disqualify PURITAN the gallant British contenders would not hear of it. The race was rescheduled for the 14th. PURITAN handily defeated the challenger in that and a successive race on September 16th, keeping the "Aulde Cup" in its shrine at the New York Yacht Club's new city clubhouse at 67 Madison Avenue.
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1.94 PAINTING. Watercolor on paper of an early 1900's tuna seiner
signed lower left "Ronald F. Ross." This very colorful and
beautifully rendered painting is illustrator art quality. It
dramatically depicts the instant when the "purse" has been
successfully connected around a school of tuna and boatman signals
the helmsman/captain to begin "taking a strain on the net." The deck
of the tuna boat is alive with the activity of several crewmen while
seagulls cavort behind the craft in anticipation of its haul. This is
a large format painting measuring 19 by 28 inches sight. It is
professionally matted under glass and is housed in its period black,
molded hardwood frame with gilt liner measuring 26 1/2 by 35 inches
overall. Outstanding condition with extremely bright colors and
perfect paper. 1200
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1.83 AMERICA'S CUP LITHOGRAPH.
Stunning period chromolithograph
entitled "VICTORIOUS VOLUNTEER 'America's' Cup Race off Sandy Hook,
Sept. 30th 1887." It goes on to say in fancy script, "between the
American Sloop "Volunteer" and the Scotch Cutter "Thistle" Distance
sailed 20 miles to windward and return "Volunteer" wins by 11 minutes
19 seconds corrected time." The original painting was signed James G.
Tyler and the print is signed "Painted by J. G. Tyler, Published by
Prang & Co., Boston" and "Copyright 1887 by L. Prang & Co.,
Boston." Much additional information is presented on each of the
yachts' characteristics. This especially lovely presentation is
bright and colorful showing wonderful action and detail. It is housed
within its original molded wooden frame with old wavy glass and
original paper backing and measures 24 x 32 inches. The actual size
of the image is 17 x 25 inches exclusive of the full printed margins.
An important period America's presentation in virtually
pristine original condition. They do not come any
better!
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1.70 YACHT PAINTING. Fine, second half 19th century watercolor by noted
American artist, Granville Perkins, as signed lower left. This fine
early rendering is in an unusual "panoramic" format measuring 10 1/2
by 28 1/2 inches sight, housed in a simple but elegant 21 1/2 by 39
inch period mahogany frame retaining its original old wavy glass. A
small cutter identified on the stern as "Jenny of Keyport" (New
Jersey) is crewed by 3 undaunted sailors as she plows through very
choppy seas. With JENNY riding the
crest of a swell the Keyport Lightship can be seen displaying its day
shapes in the distance. Also depicted on the horizon are a large
steam/sail vessel and several smaller sailing craft. This painting is
very well executed with fine detail and good color. The overall
condition is excellent noting some very slight fading and toning,
quite typical of watercolor paintings of this vintage. Circa 1875.
Rare subject matter. A rare opportunity to acquire a genuine antique
painting by one of the America's best known 19th century marine
artists for under $1000.
Recently we saw a Granville Perkins print
selling for $995
895
Granville Perkins was born in Baltimore, Maryland in 1830. He studied under James Hamilton in Philadelphia, and then New York City. He painted in oils and watercolors and was an illustrator for Harper's in 1860 and Frank Leslie's Illustrated Newspaper, 1874. He was a member of the prestigious Water Color Society, and exhibited at the Pennsylvania Academy in 1865 and the National Academy from 1862-1889. He died on April 18, 1895. His works are on display at the Mystic Seaport Museum and the Peabody Museum, among others. (Dorothy Brewington, "Dictionary of Marine Artists").
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1.62 18TH CENTURY PAINTING.
Richard Wright, English (1723-1775),
oil on canvas classic old school rendering of an armed naval cutter
hugging the coast while a menacing storm passes in the background. In
the distance a large capital ship sails under a double rainbow,
while in the foreground two frock coated gentlemen engage in a
seaside chat. Signed lower center "R. Wright." This painting measures
24 1/2 x 29 1/2 inches sight. It was relined perhaps a century ago
and is on its original stretcher with label on reverse. The painting
is housed in a lovely antique gilt gesso frame measuring 33 1/2
inches high and 38 inches wide. Excellent condition. An important
master work by Liverpool's first nationally-recognized marine artist!
A.S. Davidson in his book "Marine Art & Liverpool," 1986, devotes 2 pages to Richard Wright, noting "Certainly he (Wright) had learned to see with the eyes of the mariner as well as possessing the insight of the artist. It is unfortunate that so few of his works remain." Wright received the premium prize of the Society of Arts in 1762 for the best sea view, a triumph he repeated in 1766 and 1768. Two of his paintings hang in the National Maritime Museum, Greenwich.
Provenance: Dassy collection, Belgium/San Francisco.
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1.40 MINIATURE PORTRAIT. 18th C. Continental oil on ivory portrait miniature of a stately nobleman identified on the reverse as "Barone Massimiliouro De Flercles." This handsome young gentleman with lace collar is dressed in typical 18th C. finery. An extremely well done miniature which bears close scrutiny under the most powerful magnification. Housed in the original gold metal frame 2 x 2 1/4 inches. Superb, untouched original condition. 695
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1.30 PAINTING. Stanley Pellett, American, early 20th C. oil on
canvas painting of a World War II convoy under attack. This action
packed scene portrays a hearty American APA (Attack Transport)
narrowly missed by an aerial bomb attack from at least 4 enemy
planes. The APA was a combined troop and material-carrying ship which
was the backbone of the Navy during the war. As tracer bullets loft
skyward, one plane careens earthward in smoke and flames. In the
distance, an American escort ship also hits backs while laying a
smoke screen. Painting is realistic and colorful. It measures 24 1/2
x 29 1/2 inches sight and is housed in its original simple dark oak
frame. Outstanding condition. Signed LR. Very scarce subject matter.
1250
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