West Sea Company FINE ART & PRINTS Catalog Page 1

West Sea Company

FINE ART & PRINTS

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1.36 PAINTING. James A. Shearman, American, active New York City 1851-1888, oil on wooden panel, “An American Cutter At Sea.” This delightful, very tight rendering features a sharp cutter yacht under full sail on a starboard tack in pleasant seas, with shipping and clouds in the background. The vessel flies the owner’s flag from the top and the Union Jack from the spanker. Two sailors can be seen sitting on the lee rail. This meticulously rendered painting is executed in oil paint on a wooden panel measuring 2 1/8 by 3 ½ inches sight. In view of its small size the detail and execution are superb! It is signed lower left with the artist’s monogram with a conjoined “SH.” It is housed in its original oak frame with fancy gilt “ropework” liner measuring 8 by 9 inches overall. Absolutely perfect untouched original condition. A real delight to the eye which is perfect for hanging in an area of limited space.

Well listed artist James A. Shearman was a marine painter, lithographer and an engineer. He appears in the New York City Directories as having painted from 1851-1888. His works are on display in several notable museums. (Dorothy Brewington, “Dictionary of Marine Artists,” 1982. Young, “Dictionary of American Artists, Engravers & Sculptors,” 1968).

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1.46 AMERICAN ETCHING. Charles J. A. Wilson, American, (1880-1965) detailed rendering of the passenger steamer LOUISE under full steam, heading out to sea. This precise etching is pencil titled lower left in the artist’s own hand “Louise of Baltimore” and is pencil signed lower right “CJA Wilson” with his monogram just above. The coastal steamer with early rocking beam engine and huge smoke stack is depicted loaded with sightseers on deck as flags and pennants proudly fly in the stiff breeze. It is shown passing a can buoy to starboard, while a tramp steamer is seen making the harbor entrance in the background. This etching is done on high quality rag paper and measures 4 ½ by 6 inches sight with an overall dimension of 6 ¾ by 8 ¾ inches. Perfect original condition. 295

Charles J. A. Wilson, Scottish-American (1880-1965) was born in Glasgow, Scotland in 1880. At age one his family immigrated to Duluth, Minnesota. As a teenager, Wilson moved to Newton, Massachusetts where he began his self-taught career as a painter of ships in Boston Harbor. Early in the 20th century he was employed by Bethlehem Steel Shipbuilding Company etching ship portraits from blueprints. During the Second World War he served with the United States Coast Guard in the Boston area, again putting his artistic talents to use for the War effort.

His works are exhibited in the Pennsylvania Academy of Fine Art, Philadelphia Museum of Art, Currier Gallery, Lyman Allyn Museum, the U.S. Coast Guard Academy, New London Connecticut and the Library of Congress.
The handsome sidewheel steamer LOUISE, call sign JCMW, was a steel-hulled passenger vessel of 231.7 feet in length with a breadth of 33 feet, a draft of 8.8 feet, displacing 1023 tons. She was built in Wilmington, Delaware in 1864 and operated under the ownership of Charles Morton out of Baltimore, Maryland. In 1886 Morton sold his interests and LOUISE was relocated to Camden, New Jersey where she continued to ply the passenger trade into the early 1900’s. (“Record of American & Foreign Shipping,” 1885, American Shipmasters Association, New York).

1.44 FRAMED IMAGE of the “GREAT EASTERN.” Very handsome late 1800’s framed oil lithograph of the most famous steam/sail liner the SS GREAT EASTERN underway at sea. The image looks like an authentic oil painting, even down to brush strokes in relief! This transfer method was a very popular way of producing realistic copies of original oil paintings in the second half of the 19th century. The pleasing scene depicts the giant liner from a port quarter perspective steaming out to sea, all sails furled, with a square-rigged ship on the horizon. It is housed in its original, quite exceptional, carved wooden frame with scalloped and raised borders. The back is covered in old brown paper on with the penned inscription “From Port Townsend Washington, Grand father’s home - April 1972 (Jack B. Lewis)”. The image measures 3 ¼ by 5 ¼ sight and the frame is 6 by 8 inches.

The SS GREAT EASTERN was an iron steam/sail ship designed by Isambard K. Brunel which was built by J. Scott Russell & Co on the Thames River, London. With a length of 692 feet and a displacement of 18,915 tons, she was the largest ship ever built when launched in 1858. She had the capacity to carry 4,000 passengers around the world without refueling. The GREAT EASTERN had five funnels, sharing that number with the Russian cruiser ASKOLD. The only ship to surpass that number of smoke stacks was HMS VIKING, which had six.
Brunel died in 1859 shortly after the ship’s ill-fated maiden voyage, during which she was damaged by an explosion. After repairs, she began passenger service between Britain and America. In 1865 she was converted into a cable-laying ship. She had the distinction of laying the first lasting transatlantic telegraph cable in 1866. The massive ship was broken up in 1889.

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1.45 SHIP’s PAINTING. Stunning, mixed media, water color on silk portrait of the handsome cargo ship SS CALIFORNIA steaming off the coast of Japan with Mount Fuji in the background. This realistic and extremely detailed ship’s portrait is signed lower right “Mr. T. Hagawara Yokohama, Japan 1977” and is titled lower center “S.S. “CALIFORNIA””. It depicts the ship, with the iconic funnel marking of the States Lines seahorse “S”, off the coast with shoreline in view, plying the blue waters of the Japan Sea with seagulls frolicking off the fantail. Execution of this painting is of the highest order, in keeping with the long tradition of expert Japanese port painters. It measures 14 by 18 inches sight and is in absolutely perfect, mint, untouched condition, having never seen the light of day. It is still pinned to its original backing paper and is housed in the original cardboard shipping tube from the artist himself with a French/Japanese Customs label. Ready to frame. Rock bottom bargain price! 495

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1.34 PAINTING. William Pierce Stubbs, American, 19th century, oil on canvas, ship’s portrait of the 3-masted schooner MORRIS W. CHILD. This original large format rendering depicts the vessel in a port side view at sea under full sail. An island with lighthouse is shown on the left, while a steamer is visible on the horizon to the right. The handsome schooner flies the Union Jack from the foremast, the owner’s flag from the main, a colorful swallow tail name pennant from the mizzen and the American ensign from the spanker aft. The artist has lavished particular care in portraying the complex rigging as well as deck details, including crewman about their chores amidships and on the poop. This painting measures 22 by 36 inches sight and is housed in its original ornate gilt gesso frame measuring 32 ¼ by 46 ¼ inches. It is signed lower left, “W. P. Stubbs.” Condition is excellent. The painting has been professionally cleaned and relined, retaining all of its original color, brightness and detail. The ornate frame with floral designs has been fully restored. According to a label on the reverse this work was performed by Fynmore Studios, Boonville, N.Y. in April 1973. Examination under black light shows modest inpainting, primarily in the sky and on the periphery due to stretcher bar wear, as expected of oil on canvas paintings over 100 years old.

The 3-masted schooner MORRIS W. CHILD, official number 91311, call sign J.V.F.L., was built in Bath, Maine by H. M. Bean in 1881. She had a length of 145 feet, a breadth of 34 feet, a draft of 12 ½ feet and displaced 513 gross tons. As of 1885 her master was Captain Torrey and her owners were J.P. Ellicot and Company, homeported in Boston, Massachusetts. (“The Record of American & Foreign Shipping,” 1885, American Shipmasters’ Association).

William Pierce Stubbs was born in Bucksport, Maine in 1842 to the son of Captain Reuben Stubbs. In 1876 he was listed in the Boston directories as a painter, and in 1877 as a marine artist. He exhibited at the International Maritime Exhibition of Boston in 1890. He died May 15, 1909. His works are displayed in the Boston Historical Society, Maine Maritime Museum, Peabody Museum, Mystic Seaport Museum, Old State House Bostonian Society, Penobscot Marine Museum, Beverly Historical Society Massachusetts, Sailor’s Snug Harbor New York and the Smithsonian Institution.

Provenance: This is one of three ship’s portraits of the 3-masted schooner MORRIS W. CHILDS commissioned of Stubbs by the Ellicot family, owners of the vessel. By decent, it is the last to leave family hands.

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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 1395

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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1.36 PAINTING. Charles Rosner (1894-1975), German-American, watercolor on paper of an iron hulled square rigger shortening sail. This beautifully rendered painting is of the highest quality with realistic detail. It depicts an iron-hulled square rigger in moderate seas with another ship in the distance to the left and a schooner on the right. It is signed “Chas Rosner” lower right in the artist’s distinctive hand. The 7 ¼ by 10 ½ sight painting is decoratively French-matted in its original painted wood frame under glass, measuring 14 ¾ by 18 ¾ inches overall. The back bears the original framer’s label of “Robertson- Deschamps Co. 415 Madison Avenue :: New York,” inscribed in old ink, “Original Drawing Chas. Rosner.” Perfect condition. 879

Charles Rosner was born the son of a doctor in Langendorf, Germany in 1894. When the family vacationed in the port of Kolberg, the young to-be artist became enthralled with the ships and activity in that busy harbor.

At the tender age of 16 Rosner signed on as an apprentice seaman aboard a square rigger for a period of 5 years, during which time he rounded Cape Horn 5 times! With the onset of World War I he left the sailor’s life to take up residence in Iquiqua, Peru. It was there he began to paint ships’ portraits. In the years following his art was highly regarded for the chromolithographs produced from his paintings which graced the covers of several well known publications. Quoting one contemporary review of the artist’s life, “To have an original of Rosner’s work is a great stroke of luck.” Examples of his paintings are on display in several public institutions including Mystic Seaport Museum.

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1.38 PAINTING. Large, early 1900’s oil on canvas scene of a magnificent square rigger under full sail passing through a straight guarded by a castle. This handsome rendering is done in bold colors with exacting detail, evidencing the talents of a seasoned professional. The center subject is viewed from the starboard bow, plowing through choppy seas as it passes a small gaff-rigged fishing boat in the foreground. In the background, another ship, a bark, sails past a huge castle situated on the point, with mountains in the distance. This realistic scene exhibits great motion and composition. The treatment of the rolling waves is especially nice. Indistinctly signed, lower right, but no doubt a listed artist. It is in excellent original condition having just been professionally cleaned showing crisp, brilliant colors. The canvas is original, not lined, and exhibits a few minor patches on the reverse. This good size painting measures 20 ½ by 30 ½ inches sight, and is housed in its original carved and gilded wooden frame measuring 27 by 37 inches. A great value, ready to hang!

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1.29 PORTRAIT MINIATURE. Late 18th century oil on ivory miniature portrait of a lovely young woman with an open bodice in a lacey pink dress, signed “Servet.” The beautiful maiden is depicted wearing a tiara in her hair with a large broach on her bosom. This amazingly detailed painting truly captures her beauty with masterful brush strokes depicting individual strands of her hair and the glisten in her expressive brown eyes. Contained in the original gilt metal oval frame under glass, the reverse of which bears a small suspension ring for display. 3 1/8 by 2 3/8 inches. Perfect original condition exhibiting subtle colors. 595

Prior to 1839 when the Daguerreotype was introduced as the first form of photography, portrait miniatures commissioned of talented artists by wealthy patrons were the only means they had of preserving their likenesses for posterity. Obviously these artworks were costly. Only the aristocracy were able to indulge in such luxuries.

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1.35 PAINTING. George Stanfield Walters, British (1838-1924), watercolor on paper entitled on the mat lower center “Trawlers in rough weather, G.S. WALTERS, R.B.A.” This dramatic rendering depicts a 2-masted fishing schooner in heavy seas with crewmen at the main hastily taking in one of the jibs while the helmsman and captain steady the vessel aft. The craft appears to have made a successful catch. The aft hatch is shown full and draws the attention of a flock of seagulls near the fantail. The upper profile of another craft can be seen in the distance, hull down over the horizon. This brilliant scene is signed lower left “G.S. Walters” and measures 10 by 14 inches sight. The painting retains its original lovely ornate gilt gesso frame and heavy gold mat under wavy old glass. The frame measures 21 by 25 inches. The entire presentation appears to be in pristine, untouched original condition showing good age but no abuse. The colors are rich and bright, with the imagery crisp.

George Stanfield Walters was born in Liverpool in 1838, the son of famous marine painter Samuel Walters. George was a willing pupil and by age 15 was painting the rigging in his father’s pictures. He became a member of the Royal Academy, the British Institution of Artists, and the New Watercolour Society. His works are exhibited at the London Port Authority and the Peabody museum, Salem, Massachusetts, among others.

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1.13 PATRIOTIC 19th CENTURY PRINT. Original late 19th century chromolithograph of the famous engagement between American Naval forces and the Spanish fleet in “THE BATTLE OF MANILA.” as entitled lower center. This colorful action-packed rendering depicts superior American forces overwhelming the Spanish Armada in the Manila Bay, Philippines. The resounding victory is recorded on the bottom of the print which reads, “FOUGHT MAY 1ST BY REAR ADMIRAL DEWEY. SPANISH LOSS 11 SHIPS. 150 KILLED, 250 WOUNDED. AMERICAN LOSS NONE.” It is signed by the printers “NO. 1209 COPYRIGHTED 1898 BY MULLER, LUCHSINGER & CO. NEW YORK.” This brilliant print is as colorful and crisp as the day it was printed, having never seen the light of day in over 100 years! It measures 16 by 19 ¾ inches. The image is in mint, original condition. There are some minor tears and losses to the extreme periphery of the border which are easily matted over. One of our best bargains ever! 95

Enrique Muller was the preeminent Naval photographer in and around New York at the turn-of-the-century. It is interesting that he collaborated with Luchsinger to produce this historic lithograph of a scene half a world away.

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1.32 PAINTING. J. & F. Tudgay, British, mid-19th century, oil on canvas painting of the full-rigged 3-masted barque “TAMAYA of LIVERPOOL” at sea, as indicated on the stern. This classic ship’s portrait features two views of the same vessel. The primary view is a starboard broadside, and the secondary view is as seen from the starboard quarter. This beautiful scene shows the heavy-laden ship off the Needles in the approaches to Southampton. It depicts the most minute rigging details and deck activity. No less than 8 crewmen are shown, busily engaged in making preparations for entering port. The helmsman is at the wheel. This painting expertly displays the Tudgays’ intimate knowledge of shipboard fittings and equipage. The ship is shown flying the “Old Duster” – the British merchant ensign, from the after mast and the house flag of a white cross (X) on a blue field from the mainmast. The lovely ship’s figurehead in the form of a Victorian maiden adorns the prow with an ornate gilt trailboard behind. In the second view the stern of vessel is shown. The helmsman is clearly visible at the wheel as is the very detailed stern carving. 3 other sailing vessels are shown on the horizon, departing port in this busy shipping lane. To the right, the Needles Lighthouse is shown, guarding the approaches to the Solent between Britain and the Isle of Wight. This painting is signed lower left “J & F TUDGAY” on a barrel adrift just below the stern. This large oil on canvas rendering measures 25 ¾ by 41 ¼ inches site and is mounted in a magnificent, very ornate gilded gesso frame with beading and fluting measuring 36 by 51 inches. The painting has been professionally relined on its original wooden stretcher using the original tacks and has not been cut down. The surface of the painting is virtually untouched, with only minimal inpainting in the topmost sky near the frame where there was a stretcher crease. The Tudgays' works have enjoyed a recent resurgence in popularity, selling in the $35-45,000 range at two recent auctions.

The 3-masted ship TAMAYA was an iron-hulled barque of 570 tons, with a length of 162 feet and a breadth of 26 ½ feet, launched in Liverpool in 1862 under ownership of Imrie & Co. (Lloyd’s Register of Shipping 1864-1865).

J & F Tudgay (John and Frederick) were brothers who collaborated in the painting of ships’ portraits in England during the short period from 1857 to 1865. Nevertheless, their output is regarded as some of the finest produced in the 19th century. Their works are on display in the Bremen-Staats Museum, Bremen, Germany, the Norsk Sjøfartsmuseum, Olso, Norway and the Peabody Museum of Salem, Massachusetts. (Dorothy Brewington, “Dictionary of Marine Artists,” 1982, Peabody Museum of Salem, Mystic Seaport Museum, Connecticut.)

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1.30 ROYAL NAVY WATERCOLOR COMMEMORATIVE. Genuine, turn-of-the- last century commemorative depicting the armored cruiser “H.M.S. ROXBURGH” as fancily-painted on the lifering frame surrounding her portrait. This lovely presentation consists of an original watercolor painting of the vessel’s port bow aspect at anchor in a harbor. It is signed and dated lower left, “JSM 1904,” that being the signature of well-listed British marine painter, James Scott Maxwell. The painting is protected under its old wavy glass, housed in a carved and painted wooden “lifering” frame encircled by a braided multi-color “grab-line” of silk. The image is flanked on either side by realistic hand-painted images of the Royal Navy military ensign on the left and the British national flag on the right. The reverse shows its original wooden backing held in by old square nails. At one time the back was covered by paper, remnants of which remain. The painting measures 5 inches in diameter sight. The ring is 9 inches across. The painting itself is in untouched original condition with only some very minor touch-ups on the ring frame. Rarely were such presentations painted and signed by well-known artists. This example is by far the finest of its type we have yet seen in our 35 years! 649

HMS ROXBURGH was a Devonshire-class armored cruiser laid down by the London and Glasgow Co. yard in 1903 and launched on January 19,1904. She had a length of 473 ½ feet and displaced 10,850 tons. She saw furious action in the North Atlantic during World War I, surviving only to meet her ultimate fate at the hands of the ship breakers in Germany in November 1921.

19th century British painter, James Scott Maxwell's work covered a narrow subject range of warships and British scenery. His paintings carried the signs of immense brilliance such as in "Villefranche 188," a drawing of a fleet of ships. Most of his paintings were small watercolors or the modest sketches of steamers, like "Clyde," "Duchess of York," and "Ben Lomond," all carried out in small, 7 by 9 inch frames or slightly larger.

His repertoire concentrated on seascapes of pre-World War I British seagoing steamers and men-o-war. The works embody a form of art known popularly as "British or Continental watercolors." The type was more or less a technical 'photo realistic' drawing, aimed at factual representation, rather than artistic creativity. Maxwell's drawings of American steamships, such as "St. Paul" and "Haverford" are such technical sketches, which are powerful attempts at photographic realism.

James Scott seems to have been prolific from 1875 into the early 1900s, when most of his dated sketches were produced. In addition, it seems that a majority of his works could be commissions from steamship companies or the ships' crew members themselves. Though more than 200 works are known to survive, there seems to be no variation of theme, indicating that he painted only seascapes and ships. His geographical reach was limited to port towns of the British Isles.


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1.40 IMPORTANT MINIATURE PORTRAIT. Genuine 18th century Continental oil on ivory portrait miniature of a stately nobleman identified on the reverse in beautiful hand-written script as the "Barone Massimiliouro De Flercles." This handsome young gentleman with lace collar is dressed in typical 18th C. finery. Probably of Belgium origin. An extremely well done miniature which bears close scrutiny under the most powerful magnification! Housed in its original gilt metal frame 2 by 2 1/4 inches. Superb, untouched original condition. 695

Preceding the advent of the Daguerreotype, the first form of photography introduced in 1839, portrait miniatures such as this example, were the only means by which wealthy patrons could insure that their likenesses were preserved for posterity.

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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. An absolutely fabulous value at this price! 695

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 the GENERAL 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 steamers Great 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 and Yale, she was not an economical ship to operate, but was literally a pace-setter for the Pacific Steamship Co."


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1.24 FAMOUS YACHT PAINTING. John Hughes, British-American, (1806-1878) (attrib.) oil on artist's board of the most famous racing yacht of them all, the Yacht AMERICA. This dramatic rendering depicts the schooner AMERICA under full sail slicing through waves with spray in a stiff breeze on a port tack. She flies the American ensign from the spanker and at least seven crewmen are visible on deck. The painter has captured the instant in time with realistic detail down to the mast hoops, reefing lines and decorated billet. The scene is an open ocean yacht race with 3 other yachts on similar tacks and a 3-masted bark in the far distance. Painted at the peak of Hughes' career, this painting very possibly it is THE Royal Yacht Squadron's Regatta in which AMERICA won the America's Cup in 1851. It measures 17 1/2 by 11 1/2 inches and is housed in a magnificent period antique gilt gesso frame measuring 27 1/4 by 21 inches. Outstanding condition in all respects.

To those familiar with yachting history the AMERICA needs no introduction. AMERICA's genesis was sparked by an invitation from the Royal Yacht Squadron in England for an American vessel to participate in the Great Exhibition. Under Prince Albert's guidance, the exhibition was to be the first World's Fair up to that time. New York Yacht Club Commodore John C. Stevens took up the call and set about to build the "fastest yacht afloat." Stevens gathered a syndicate including Edwin Schuyler, J. Beekman Findlay and Hamilton Wilkes. They commissioned yacht designer George Steers, then working at the yard of William Brown on the East River in New York. What they created was a yacht with clipper bow, sharp forebody and a broad beam of 23 feet well aft. With a registered length of 93 1/2 feet and an 81 foot main mast, the yacht displaced 170 tons. Launched on May 3, 1851, to the most critical American eye she had particular grace. However when the tradition-steeped British builders first saw her they were horrified!

AMERICA arrived in British waters in July, however no races had been planned and no serious British challenges offered. Almost as an afterthought AMERICA's skipper, Richard Brown, suggested that his yacht be entered in the Royal Yacht Squadron's regatta race around the Isle of Wight for an "ordinary cup" worth one hundred guineas. The day of the race, Queen Victoria herself, aboard her yacht VICTORIA AND ALBERT was on hand to view the spectacle. 18 yachts were entered into the race. On board AMERICA, were 21 men including a local pilot.

At the start of the race AMERICA was last to get underway, but as the yachts reached The Needles for the run home a signalman on the Royal Yacht reported sighting the AMERICA. "Oh, indeed! And which is second?" was the Queen's query. As the signalman again swept the horizon with his spyglass, with a quivering voice he announced, "I regret to inform Her Majesty there is no second." As it turns out of course, there was a second, the gallant little yacht AURORA. But she was so far behind that the actual time of her crossing the finish remains unclear. The London Illustrated News reported a lapse of 21 minutes. Some 20 years after the race the New York Yacht Club accepted 8 minutes as the official figure.

It was a Yankee victory and a notable one which was to profoundly shake British yachting circles for decades to come. The "Aulde Cup" as it came to be known and later, popularly, the "America's Cup," found a home in the New York Yacht Club for the next 132 years!


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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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1.14 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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1.98 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:

ARRIVAL OF THE STEAM-SHIP GAELIC

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:

U.S. Supreme Court CHAE CHAN PING v. U.S., 130 U.S. 581 (1889) 130 U.S. 581
CHAE CHAN PING v. UNITED STATES.1
May 13, 1889

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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