J aS es tte ans “Ty i ap ‘ 5 SX R he peek x Ser hue 5 oa tha .~

ss, y tee — J ee Fa rai coy oe 4 . .Y ¥ ‘4 \ Nee ue Hh f Ta er hae a) axe fe ee ois eed RO a oe yer lana a bd pitts, i? ¥ Che a hae} rel f t , —, ‘= oe, Pos \ oe ¥ Me 4, oo oh Pes a 2 ARN eng iy a * te RI GINAL DRAWINGS OF AVAL AND MARINE SUBJECTS 3 IMPORTANT EXAMPLES BY VAN DE VELDE, DODD, ee Boe. ae | NER, BUTTERSWORTH, FIELDING, BRENTON, ; 2 BE ae ANDION, CLEVELEY, STANFIELD, THE PROPERTY OF > sat —— VINTHROP NEWMAN OF LONDON AND NEW YORK oF THE BRITISH SOCIETY FOR NAUTICAL RESEARCH E SOLD AT UNRESTRICTED PUBLIC SALE oe BY ORDER OF MR. NEWMAN IN MONDAY EVENING, FEBRUARY 7TH, 1921 “+ ‘UNDER THE MANAGEMENT OF THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK CITY Wal Te ry “ oy LIBRARY M. Knoedler & Co. 14 East 57th St. New York ‘THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS oe ALL DETAILS OF ILLUSTRATION Pe | TEXT AND TYPOGRAPHY ~ ON PUBLIC EXHIBITION AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK ENTRANCE, 6 EAST 23RD STREET BEGINNING THURSDAY, FEBRUARY 3RD, 1921 AND CONTINUING UNTIL THE TIME OF SALE ORIGINAL DRAWINGS OF MARINE SUBJECTS DHE PROPERTY OF V. WINTHROP NEWMAN OF LONDON AND NEW YORK MEMBER OF THE BRITISH SOCIETY FOR NAUTICAL RESEARCH TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF MR. NEWMAN ON MONDAY, FEBRUARY 7TH,IQ21 AT 8:30 O CLOCK IN THE EVENING AT THE AMERICAN ART GALLERIES o ! ) [FOL ON] amn[eg om, ACTHA AG NVA WHTTIM ILLUSTRATED CATALOGUE OF ORIGINAL DRAWINGS OF NAVAL AND MARINE SUBJECTS PHECPROPERTY OF V. WINTHROP NEWMAN OF LONDON AND NEW YORK MEMBER OF THE BRITISH SOCIETY FOR NAUTICAL RESEARCH TO BE SOLD WITHOUT RESERVE OR RESTRICTION BY ORDER OF MR. NEWMAN ON MONDAY, FEBRUARY 7TH, 1921 AT 8:30 O CLOCK IN THE EVENING THE SALE TO BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF THE AMERICAN ART ASSOCIATION, Manacers NEW YORK CITY FOREWORD BY MR. NEWMAN In offering this Collection to the Public it is necessary to emphasize the fact that these Naval and Marine Drawings are all the actual originals from which in many instances the Aquatints, Mezzotints and other Engravings so much sought for, have been reproduced. If the acquisition of a rare print brings joy to the Collector’s heart, how much greater must be the pride of possession of the unique original, the only one in existence. Apart from the purely technical interest the artistic merit of most of the examples, many of which are the productions of the brush of notable men of a period when the British Water Color School was in process of evolution, should appeal to lovers of art for their decorative qualities. Covering an extensive range of years and the productions of many artists of reputation, they ilustrate varying forms and rigging of vessels long since obsolete; the opportunity of repro- ducing these from the authentic models no longer existing, these therefore become in many cases the sole veritable records of the palmy days of the ‘Wooden Walls’ of glorious memory. The descriptive text relating to these productions not only refers to the scenes and vessels shown, but there is also given a general synopsis of the characteristic attributes and mannerisms of their various creators. [Szgned] V. WINTHROP NEWMAN New York City, January, 1921. Conditions of Sale 1. Any bid which is merely a nominal or fractional advance may be rejected by the auc- tioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 2. The highest bidder] shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 3. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the purchasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale, shall be made within ten days thereafter, in default of which the undersigned may either continue to hold the lots at the risk of the purchaser and take such action as may be necessary for the enforce- ment of the sale, or may at public or private sale, and without other than this notice, re-sell the lots for the benefit of such purchaser, and the deficiency (if any) arising from such re-sale, shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon payment of the total amount due for all purchases at the sale. Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. ‘Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on presenting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Associa- tion will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. 6. Storage of any purchase shall be at the sole risk of the purchaser. Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. 7. Guarantee is not made either by the owner or the Association of the correctness of the description, genuineness or authenticity of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imperfection not noted. Every lot is on public exhibition one or more days prior to its sale, after which it is sold “as is” and without recourse. The Association exercises great care to catalogue every lot correctly, and will give con- sideration to the opinion of any trustworthy expert to the effect that any lot has been incor- rectly catalogued, and, in its judgment, may either sell the lot as catalogued or make mention of the opinion of such expert who thereby would become responsible for such damage as might result were his opinion without proper foundation. SPECIAL NOTICE Buying or bidding by the Association for responsible parties on orders transmitted to it by mail, telegraph or telephone, will be faithfully attended to without charge or commission. Any purchase so made will be subject to the above Conditions of Sale, which cannot in any manner be modified. The Association, however, in the event of making a purchase of a lot consisting of one or more books for a purchaser who has not, through himself or his agent, been present at the exhibition or sale, will permit such lot to be returned within ten days from the date of sale, and the purchase money will be returned, if the lot in any material manner differs from its catalogue description. Orders for execution by the Association should be written and given with such plainness as to leave no room for misunderstanding. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot, and when the lot consists of one or more volumes of books or objects of art, the bid per volume or piece should also be stated. If the one transmitting the order is unknown to the Association, a deposit should be sent or reference submitted. Shipping directions should also be given. Priced copies of the catalogue of any sale, or any session thereof, will be furnished by the Association at a reasonable charge. AMERICAN ART ASSOCIATION American Art Galleries Madison Square South New York City AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK UNRESTRICTED PUBLIC SALE OF ORIGINAL DRAWINGS OF NAVAL AND MARINE SUBJECTS BY ORDER OF THE OWNER, V. WINTHROP NEWMAN OF LONDON AND NEW YORK, MEMBER OF THE BRITISH SOCIETY FOR NAUTICAL RESEARCH _ MONDAY EVENING, FEBRUARY 7th, AT 8:30 O’CLOCK ——- ALBERT, BRITISH ARTIST ALBERT, 1. THE ROLLING SEA. Watercolor drawing. Signed at lower right corner,— “Albert.” A full rigged vessel, all sails set, swinging along under a lowering sky. Broad and effective in treatment. Height, 101%; length, 1658 inches. Note on lower margin,—“Drawings by this artist are in the Victoria & Albert Mu- seum, London.” WILLIAM ANDERSON Born, 1757; died, 1837. Originally a shipwright, he cultivated drawing in his leisure hours; removing to London, exhibited at the Royal Academy from 1787 to 1814. His works are usually of small size and show practical nautical knowl- edge. A number of his productions were engraved in aquatint by W. Ellis. ANDERSON, WILLIAM 2. OFF THE ISLE OF WIGHT. Pen and wash drawing, in sepia. Signed in lower left corner,—‘“Anderson.” Two Frigates on different tacks passing each other in the Solent. Bril- liantly executed with great freedom, yet exquisite sense of detail. Height, 634; length, 83 inches. ANDERSON, WILLIAM 3. A First-RATER APPROACHING THE ISLAND OF TENERIFFE. Watercolor draw- ing. Signed and dated in lower left corner,—“W. Anderson 1801.” A brilliantly colored drawing of an eighty-gun ship heading into the Bay of Funchal, an armed sloop is to the right, and further in is seen a frigate; at the left are native fishing boats; the whole dominated by the peak of Teneriffe, which towers in the background. Carefully drawn with much fidelity of detail. Height, 10%4; length, 16 inches. Sale, Monday Evening, February 7th ANDERSON, WILLIAM 4. FRIGATE COMING TO ANCHOR IN Port. Watercolor drawing. Five Frigates at anchor in a calm bay, with their sails hanging loosely from the yards, one of them saluting; in front is seen a Dutch fishing smack, while in the immediate foreground, fishermen in a boat are seining. Carefully drawn; the treatment and coloring of extreme delicacy display great accuracy of detail. Height, 624; length, 85 inches. This drawing was probably executed for reproduction by aquatint. ANDERSON, WILLIAM 5. FISHING SMACKS IN A StirF BREEZE. Watercolor drawing. A splendid drawing of fishing boats off the coast bearing out to sea. The _ coloring of great quality, the free movement of the water especially well © rendered, and the atmosphere singularly effective. Height, 5%; length, 734 inches. GEORGE HENRY ANDREWS, R.W.S., F.R.G.S. Born, 1816; died, 1898. He was an engineer by profession, but devoted most of his time to painting chiefly Marine subjects in watercolor. His works were exhibited at the Royal Watercolor Society (of which he later became Treasurer), Royal Academy, and at the British Institution. ANDREWS,. GEORGE HENRY 6. THE FRIGATE “COLCHESTER” WRECKED ON THE LONE SAND, 1787. FoG CLEARING Away. Pencil and India wash drawing. A well drawn representation of the wreck of the Colchester, which is seen dismasted and driven ashore; her crew taking to the boats, while other craft surround her to render assistance. The atmospheric effects of fog and storm are admirably rendered, the whole scene being well composed and pictorially effective, the treatment broad and full of character. Height, 10%; length, 14% inches. SAMUEL ATKINS Born, 1760; died, 1810. But little is known of this artist, he was an Exhibitor at the Royal Academy from 1787 till 1808. His work is characterized by effective coloring, neatness of finish, and fidelity of detail. ATKINS, SAMUEL 7. FRIGATE “SHANNON” SAILING UNDER ForRESAIL. Watercolor drawing. Signed on spar in lower left corner,—“Atkins.” A. splendid drawing of the Shannon, laboring in a heavy sea off a rock- bound coast, her top-mast struck and her main tops’! blown away. Remarkably well colored, and full of spirited movement. Height, 13; length, 1734 inches. On the reverse, in a panel, is an advertisement in the artist’s own hand, reading Mr. Atkins, Hay Market 54, teaches drawing at home and abroad. This is an inter- esting commentory on the relative position of the Artists of the period who were forced to eke out a precarious existence by teaching “at home and abroad.” [See Illustration] [4 oN] [esolog Jepun surpivg ,wouurys,, o7eSI11] SNDLLV THONVS Sale, Monday Evening, February 7th ATKINS, SAMUEL 8. LAUNCH OF A THIRD RATER. Watercolor drawing. Signed in lower left cor- ner,—“Atkins.” An animated and extremely picturesquely rendered drawing, of a flag- bedecked 70-gun Ship-of-war, which is seen descending from the ways, and gracefully taking the water. On the dock-head and in boats in the foreground are massed the cheering spectators, while in the background is seen other shipping. The calm peacefulness of the water reflects the ruddy light of the sundown which floods the entire scene with a roseate hue. Height, 11; length, 15% inches. ATKINS, SAMUEL 9g. A FRIGATE OFF THE ISLE OF WIGHT. Watercolor drawing. Signed in lower right corner,— “Atkins.” A remarkably well drawn and carefully detailed representation of a Frigate bearing up channel. In the background the Isle of Wight, with Caris- brook Castle on the left, and fishing boats and other vessels in the dis- tance. Admirably colored and particularly effective. Height, 9; length, 13 inches (Oval.) LUDOLF BAKHUYZEN Born, 1631; died, 1708. Pupil of Everdingen, also studied under Dubbels. The quality of his work, its truth to nature, the transparency and lustre expressed in his handling of lights and shadows, his fidelity to form and atmospheric values as shown in his rocks, skies, clouds, and in the varying moods of the sea, its calm | gales, storms and other manifestations, ranks him next to the younger Van de Velde as a marine artist. BAKHUYZEN, LUDOLF . ; 10. Coast SCENE, WITH DutTcH FIisHING Boats. Black chalk and India wash drawing. Signed in lower right corner,—“L. Bakhuyzen.” An interesting rendition of a foreshore on the Dutch Coast with a fishing boat beaching; others at anchor or drawn up on the beach; figures in foreground. The entire picture is filled with the sense of plein air, the light clouds drifting across the vast expanse of the sky indicated with a marked directness. The entire treatment being free and broad, emphasiz- ing its verity by sheer simplicity of execution. Height, 14; length, 193 inches. From the Charles Rogers collection. ADMIRAL SIR J. P. BERESFORD BERESFORD, ADMIRAL SIR J.P: 11. A FRIGATE AT ANCHOR, DRYING HER SaILs. Watercolor drawing. Signed in lower left corner,—“J. P. B.” A remarkably interesting drawing of a fifty-gun Frigate in port after a storm, with all her sails hanging loose to dry. This undoubtedly is a drawing showing an actual scene, and is of value as a record of an incident which will probably never again occur in these days of oil burners. Treated with considerable accuracy of detail and clear atmospheric impression. Height, 4%; length, 7 inches. Sale, Monday Evening, February 7th CAPTAIN SIR JAHEEL BRENTON Captain Sir Jaheel Brenton was born in Rhode Island in 1770. His father settled in America during the 17th Century, at the outbreak of the War of Independence he sided with the Royalist Party and went to England. The Captain served with great gallantry in the Mediterranean and for the action of Nov. 6th, 1799, was presented with a Sword of Honor, later becoming Vice- Admiral and Governor of Greenwich Hospital. PeprReENITON, CAPTAIN SIR JAHEEL 12. THE HARBOR OF CEPHALONIA. Watercolor drawing. A well rendered view of the Harbor of Cephalonia, in Greece; with two Frigates lying at anchor off the town, behind which rise rocky hills; in the foreground are several figures, and at the right a rudely roofed shelter. Height, 1138; length, 1734 inches. CAPTAIN SIR OSWALD W. BRIERLEY Born, 1817; died, 1894. He first studied under Henry Sass at BloomsburyArt School, going thence to Plymouth to acquire a knowledge of ships and shipping. He first exhibited at the Royal Academy in 1839. After circumnavigating the globe, he accompanied the fleet to the Baltic. In 1851 was attached to the Suite of the Prince of Wales in his journey to the Nile, and subsequently attended the Duke of Edinburgh on his voyage round the World, being later appointed Marine Painter to Her Majesty Queen Victoria. BRIERLEY, CAPTAIN SIR OSWALD W. 13. COASTING VESSELS LyING IN HARBOR. Sepia wash drawing. A charming delicate study of shipping, comprising a Schooner, Brig and Smack, effectively grouped and well defined; the tall slender masts with loose hanging sails towering upward; in the background are seen ware- houses with other craft unloading. Drawn with exquisite precision. Height, 6%; length, 8% inches. CHARLES BROOKING Born, 1723; died, 1759. Was sometimes termed the “English Van de Velde.” He was brought up in Deptford Dockyard, working as a ship’s painter, and taking to art, acquired great skill as a painter of shipping and Marine views which show an extensive knowledge of Naval tactics; his coloring was bright and clear, his water pellucid, his manner broad and spirited. He promised to become eminent, but died young from consumption just as he was getting into repute. His works have been engraved by R. B. Godfrey, Ravenet, Canot and Boydell. BROOKING, CHARLES 14. SHIPPING AT ANCHOR, IN A CALM. India wash heightened with white on blue paper. A remarkably clever drawing after Van de Velde, retaining all the serene beauty of the original, dexterously handled and broadly treated. Height, 7; length, 9% inches. Sale, Monday Evening, February 7th BROOKING, CHARLES 15. MAN-o-WaR AT ANCHOR WITH SAILS UNFURLED. India wash drawing. Signed in lower left corner,—“C. Brooking.” An accurate and careful delineation of a 70-gun Third-Rater lying at anchor with unfurled sails, exhibiting detailed correctness in every line. The ornamental details of stem and stern, the hammock-nettings, the ancient Cro’ jack-yard and the curve of the strakes at the water-line are © most truthfully depicted. The varying thickness of the cordage and the — proportionate exactitude of every part of the vessel renders this a posi- — tive record of an obsolete type. The treatment of sky and water, cleat and broad, is strikingly effective in its simplicity. Height, 1234; length, 167 inches. From the Fairfax Murray Collection. [See Illustration] BROOKING, CHARLES ee. 16. AN ARMED ENGLISH GALLIOT. I ndia wash drawing. Signed on spar in iowee ; left corner,—“C. Brooking.” A two-masted vessel of the Brig type formerly known as a Galliot, with — foremast sails unfurled and the running rigging unbrailed; floating idly | at anchor with her dingey astern, she appears most picturesque in the © calm water, with a clear lightly clouded sky above, and her crew lazing on deck. An interesting specimen of an early rig. A point of interest is the arrangement of the guns, the four after ones being placed on the J lower tier. : Height, 1358; length, 1934 inches. From the Wellesley Collection, BROOKING, CHARLES 17, A FricaTeE. India wash drawing. Signed in lower left corner on buoy,— “C. Brooking.” = An animated and skillful rendition of a Frigate carrying 22 guns and two swivels mounted on the fo’ksl’e. Carefully drawn, exhibiting interesting and obsolete details, such as side-opened embrasures for ventilation alongside the gun-ports, also, the yards for the spirit-sail and sprit top’sl and the holes in the sprit-s’l for evacuating the water which sometimes gathered in it from broken seas. The alert action and movement of the crew aboard is well represented, while the calm sea into which the ensign — dips, reflects the stately vessel floating on its bosom. Overhead the tall spars spear the sky, brilliant with sunset effects, the light and shadow on ~ the sails and hull being admirably represented. Height, 1358; length, 201% inches. From the Charles Rogers Collection. Fagan, No. II7. s BROOKING, CHARLES Toate SCHOONER. ndia wash drawing. Signed in lower left corner on buoy,— “C. Brooking.” An effective drawing of a Schooner with the fores’l, fore-tops’l, main-tops’l and spanker set. (It is interesting to note that the latter has no boom.) The vessel which would in later parlance be termed a sloop, carries an armament of 12 guns abaft the mainmast. In the waist is seen a roofed — in arrangement just forward of the quarter-deck which appears unusual. With the wind on her quarter the vessel appears to be running at a good rate through the water, the crew on deck apparently actively engaged. The whole forms an interesting record of an early type of craft. Height, 1334; length, 20 inches. [eT ON] . 1Oyqouy 4e TB MA -O-UBTAL ONIMOOUD SATUVHO : Ba as ; Sale, Monday Evening, February 7th THOMAS BUTTERSWORTH Little is known of the history of Thomas Buttersworth, except that he was a frequent exhibitor at the Royal Academy, British Institute and Suffolk Street Galleries, from 1813 to 1827. His pictures of the “Battle of Trafalgar” attracted much attention when shown at the British Institute, of Watercolor Painters in 1825. His son J. E. Buttersworth emigrated to the United States, and was also favorably known as.a Marine painter. BUTTERSWOR TH; THOMAS 19. THE FRIGATE “APOLLO,” OF 44 GUNS, GOING BEFORE THE WIND. Water- color drawing. Signed in lower left corner,—“Thos. Buttersworth.” An unusually careful drawing of a Frigate with all sails set, minutely precise in every detail, with an absolute definition of the various parts which go to make up the structure, even to the planking of the hull, the nettings, the breast-hooks, and the varying thickness of the standing and running rigging. Height, 814; length, 11% inches. This is the original drawing of one of a set of eight, drawn by Buttersworth, which were engraved by Laurie, in mezzotint, and published in 1795 by Laurie and Whittle. It is interesting to note the dropping of the letter S in Buttersworth, in the engraved reproductions. BUTTERSWORTH, THOMAS ) 20. THE FRIGATE “SOUTHAMPTON” ON A CRUISE. Watercolor drawing. Signed in lower left corner,—“Thos. Buttersworth.” A clever representation of a Frigate in full-sail, carefully detailed and drawn with great precision. In the distance are seen two other vessels; the shortness of the mizzen-mast is remarkable, no provision being made for the to’gallant sail. Height, 778; length, 1036 inches. BUTTERSWORTH, THOMAS 21. A “QUARTER VIEW” OF A 74-GuN SHIP, WITH A LARBOARD TACK ABOARD. Watercolor drawing. Signed in lower left corner,—“Thos. Buttersworth.” An effective drawing of a Three-decker in full panoply of sails—heading outwards—thus giving a clear view of her decorated and galleried stern, the tumble-home of her sides showing the tiers of guns and their blood-red port-lids. Three other craft are visible in the distance. Height, 8; length, 1034 inches. BUTTERSWORTH, THOMAS 22. A QUARTER VIEW OF THE FRIGATE “HEBE” WITH A LARBOARD TACK ABOARD, BRINGING A LUGGER To. Watercolor drawing. Signed in lower left corner,—“Thos. Buttersworth.” A striking view of a Frigate, seen from stern on, with her courses and tops’Ils set, heading towards a Lugger which is crossing her bow. Over her decorated and many windowed stern floats the English ensign. Height, 8%; length, 11 inches. BUTTERSWORTH, THOMAS 23. THE “MERCURY” OF 28 GUNS, ON A STARBOARD TACK. Watercolor drawing. Signed in lower left corner,—“Thos. Buttersworth.” A clever representation of an armed sloop with all sails set, carefully complete to the most minute detail of her rigging, sails and hull; dis- playing the transitional arrangement of the lower sail on the mizzen mast. A gaff appears in lieu of the Cro’ Jackyard and the spanker is shown laced to the mast. Height, 8; length, 1054 inches. Tn Ne ip SPER Sa I reo 4, Sale, Monday Evening, February 7th BUTTERSWORTH, THOMAS 24. AN OuTwarRD Bounp EAst-INDIAMAN LAYING To ON A ContTRARY WIND, TAKING A Pitot ON Boarp. Watercolor drawing. Signed in lower left corner,—“Thos. Buttersworth.” A well rendered delineation of an armed merchant vessel with her lower sails set and her lower deck ports closed. On board an officer is hailing an officer aboard a pilot boat nearby, who is answering, one of the crew meanwhile is making ready to launch the dingey in order to trans- port the pilot to the passing vessel. A boom lashed to the mast of the smaller boat is probably for the purpose of launching. At the left is seen a small Dutch fishing boat. Height, 8%; length, 1114 inches. BUTTERSWORTH, THOMAS 25. AN HOMEWARD BounD EAstT-INDIAMAN TAKING A Pitot ON Boarp. Water- color drawing. Signed in lower left corner,—“Thos. Buttersworth.” A neatly finished drawing of a pilot boat approaching an incoming East- Indiaman; the crew actively engaged in preparing to launch a boat in order to take the pilot aboard. Spiritedly drawn, and full of movement. Height, 758; length, 113 inches. BUTTERSWORTH, THOMAS 26. A YACHT,—CLOSE HAULED. Watercolor drawing An extremely detailed drawing of a yacht, exhibiting a rig of a past period and showing a tops’! set differently from the modern type. Every part of the vessel is meticulously shown and most carefully drawn. Each rope, stay, and block, truthfully indicated. An interesting record of the then existing type of pleasure craft. Height, 8%; length, 1034 inches. BUTTERSWORTH, THOMAS 27. “SHIPPING NO. 3, 5 /-” A book of eight mezzotint plates engraved by Laurie from the eight pre- ceding original drawings by Thomas Buttersworth, published at varying dates from the Ist July, 1795 to 5th November, 1795 by Laurie & Whittle, 53 Fleet Street, London, in original blue paper wrapper evident- ly for hand coloring. This book and the eight originals were purchased at the sale of Messrs. Lauries’ effects by Messrs Puttick & Simpson, London, May 1920. These prints are engraved reproductions of Numbers 19 to 26 inclusive in this catalogue. JAMES WILSON CARMICHAEL Born at Newcastle-on-Tyne in 1880; died at Scarborough in 1868. He went to sea at an early age, but was subsequently apprenticed to a shipbuilder, being employed in drafting and designing. His earlier works were executed in water- colors, but about 1825 he began to paint in oils. He exhibited at the Royal Academy and elsewhere from 1835 to 1859. CARMICHAEL, JAMES WILSON 28. OrF Dover. Watercolor drawing. An armed Brig laying to, to take an approaching pilot aboard. In the background, are seen the Dover Cliffs and the entrance to the harbor, at the right Dover Castle can be discerned on the heights. Drawn with great precision and a pleasing sense of verity and nicety of coloring. Height, 634; length, 9% inches. Sale, Monday Evening, February 7th - JOSEPH CARTWRIGHT Born about 1820. Was attached to the Army in a civil capacity and was for some time Paymaster-General at Corfu. While in Greece he made many sketches, and on returning to England devoted himself toart. In 1828 he was appointed marine painter to the Lord High Admiral. He was a frequent exhibitor at the Royal Academy and the Society of British Artists. CARTWRIGHT, JOSEPH 29. A FRIGATE LyING IN THE THAMES, OFF SHEERNESS. Watercolor drawing. Signed in lower left corner,—“J. Cartwright.” A clever drawing of a 50-gun frigate lying at anchor alongside one of the old prison hulks. Remarkably well executed and the cloud effects well — rendered, giving a picturesque, though sombre effect to the entire ~ sketch. The coloring low in key but harmonious. =a Height, 634; length, Io inches. These Prison hulks, mentioned in Dicken’s “Great Expectations,” used to lie in the stream, and were roofed over, being used as temporary prisons for the unfortu- nates awaiting transportation to Botany Bay. GEORGE CHAMBERS Born in 1803; died 1840. He was the son of a seaman, and went to sea at the age of 10, but his master noticing his artistic ability, cancelled his indentures to allow him to devote himself to painting. Chambers became a house- painter at Whitby, spending his leisure time taking drawing lessons and painting shipping scenes. Subsequently working his way to London on a trading vessel, he assisted on the production of a panorama of London, afterwards working asa scene painter. He exhibited from 1820 to 1840 at the Royal Academy and else- where. His promising career was cut short in 1840. CHAMBERS, GEORGE 30. A STIFF BREEZE. Pencil and wash drawing, in sepia. A remarkably clever sketch of a full-rigged ship with all sails set, but the to’ gallant fores’l, the mast having been struck. A superb sense of motion is demonstrated in the gallant manner in which the bluff bows breast the turbulent waves, the bellying sails lifting her along. At the right is another vessel keeling over in the breeze; the whole permeated with life and movement. The technical treatment is vigorous and singularly effective in its utter simplicity and directness. An imperish- able record of unusually truthful preception. Height, 14144; length, 19% inches. [See Illustration] CHAMBERS, GEORGE 31. FORCING THE PASSAGE OF THE Bocca Tieris. Sepia wash drawing. A well drawn representation of the action between the British warships Imogene, 28 guns, Captain P. Blackwood, and the Andromache, 28 guns, Captain H. C. Chads, against the Chinese forts at Chunepec assisted by War Junks. Height, 34%; length, 14% inches. This drawing of considerable merit, was made for illustration in Mr. Holman’s work. The action depicted above was continued from the 7th to the 9th of September when the enemy was defeated and the forts almost ruined, many of the defenders perish- ing. The British loss was slight. =" [0S ‘ON ] | azo01g] JUS V SHAMNVHO ADYOAD Sale, Monday Evening, February 7th CHAMBERS, GEORGE a2 SIGNALLING AT SEA. Oil Painting on Bristol board, mounted on panel. ‘Sioned in lower left corner,—“Chambers.” An extremely delicate and well painted representation of a “three-deck” line of Battleships, with an attendant Frigate, signalling to another First-rater in the offing. Exquisitely painted with fine sense of atmos- pheric values; the handling of the clouds and water masterly; the 3 pearly quality of the roseate sky most noticeable, while the breadth of treatment, conjoined with the purity of coloring gives this miniature a sense of proportionate vastness that is truly remarkable. Height, 3; length, 414 inches. JOHN CLEVELEY Born, 1747; died, 1786. He was brought up at the Dockyard, Deptford, and showing an early taste for drawing was instructed in watercolor painting by Paul Sandby and his father, as his earlier work is signed J. Cleveley, Jr. He became a Lieutenant in the Navy, and as draughtsman accompanied Lord Mulgrave in his Voyage of Discovery to the North Pole, and likewise went with Sir Joseph Banks to Iceland, occupying a similar position. He first exhibited at the Royal Academy in 1770 continuing to do so until his death in 1786. CLEVELEY,, JOHN 33. SECOND-RATER AT ANCHOR, OFF SPITHEAD. Watercolar drawing. Signed in lower left corner,—“Jo. Cleveley.” | An interesting study of a 74-gun Ship-of-the-line, coming to anchor with her sails unfurled; surrounded by various other craft, and a boat putting off from her for the shore. Admirably drawn and colored. Height, 5; length, 7%4 inches. CLEVELEY, JOHN 34. Two FRIGATES AT ANCHOR. Watercolor drawing. A charming drawing of two Frigates at anchor in an open roadstead, a third is seen in the distance at the right, as well as two small craft passing the larger vessels. Cleverly drawn and colored with great nicety and detail. Height, 7; length, 838 inches (Oval). CLEVELEY STOW ; 35. A First-RATE Man oF WAR LYING TO, WITH AN ATTENDANT SQUADRON OF FRIGATES. Watercolor drawing. An interesting scene in the Channel, of a “Three-decker” accompanied by a fleet of five Frigates, some under way and others at anchor. Drawn and colored in Cleveley’s best manner, singularly effective in com- position and clarity of color, with remarkable good atmospheric feeling and absolute truthfulness of detail. Undoubtedly one of the artist’s best productions. Height, 958; length, 15 inches. [See Illustration] [ss oN] IBAA JO Usp, JO UoApenbs AATAATTO NHOL Sale, Monday Evening, F ebruary 7th ROBERT CLEVELEY Born, 1747; died, 1809. He early attained distinction as a painter of naval actions, and is supposed to have held a Lieutenant’s commission in the Appointed marine painter to H-_R.H. the Prince of Wales (afterward George _ = marine draughtsman to H.R.H. the Duke of Clarence (subsequently William Hy CLEVELEY, ROBERT 36. THE BATTLE OF LA HocueE, 1692. Watercolor arises Signed in lower left corner,— R. Cleveley.” 4 An exceedingly meritorious composition of the scene on the occasion of — Admiral Edward Russell’s Defeating the French Forces under Admiral — Comte de Tourville, whose Fleet was assembled in the effort to replace James II on the throne of England. The incident illustrated is the — burning of the Soleil Royal; after she had gone in shore, boat attacks — were made on her and two other vessels which were set on fire. At the — left is seen the stern of the French Admiral’s ship, the flames pouring from her deck; in the distance are visible two other French ships she : and at the right the Victors. All around are the boats which were active- ly engaged in the destruction of the French ships. Height, 534; length, 7 inches. 4 This original drawing is one of a series which was engraved and published in color — by R. Boyer of Pall Mall from 1797 to 1803. Parker mentions eight of these in his Naval Prints. EDWARD WILLIAM COOKE, R.A. Born, 1811; died, 1880. Son of George Cooke, well known engraver. He specialized in river and marine views, and shipping, which are considered ape er He was a frequent exhibitor at the Royal Academy, irom 1864 to 1880 ; COOKE, EDWARD WILLIAM = a7. CHALK Cuirrs, Boncuurcu, ISLE oF W. — Lead pencil drawing. Signed in lower left corner—‘“E. W. Cooke. R.A.” A fine example of pencil drawing, carefully and faithfully rendered, the light and shade handled with due balance, and the composition of a high order. Shows fishing boats drawn up on the beach, some old cannon lying near by, while beyond, winding steps lead up to the summit of the Chalky Cliffs at whose base nestles a small hut; close at hand is the windlass used for drawing up the boats on the pile-enclosed causeway. Height, 674; length, 1o inches. \ JAMES FRANCIS DANBY Born, 1816; died, 1875. English painter who achieved some reputation for marine and landscape paintings. He was an exhibitor at the Royal Academy and British Insitiute of Water Color Painters trom 1847. DANBY, JAMES FRANCIS 38. Tue “SAN FIoRENZA” AND “AMELIA” ENGAGED WITH THREE War FRIGATES, April 9, 1799. W ‘atercolor drawing. Signed on mount at lower right corner,— James Danby.” A stirring representation of the fight off Belle-Isle, between two English Frigates,—the San Fiorenza, 36 guns, Captain Sir H. P. Neale, the Amelia, 38 guns, Captain the Hon. Charles Herbert, and three French Frigates,—the Cornelie, 40 guns, the Vengence, 40 guns, the Semillante, 36 guns, a gun vessel and an armed Cutter. Cleverly drawn and effec- tively colored, with fine sense of action. Height, 16%; length, 2434 inches. Sale, Monday Evening, February 7th ROBERT DODD Born, 1748; died, 1816. Marine painter and engraver who lived early in life at Wapping Wall. He began art asa landscape painter, later took up marine subjects and in these attained much excellence. Between 1782 and 1809 he was a constant exhibitor of Naval Subjects at the Royal Academy. His works had - great truth and reality, were extensively engraved and very popular. a IDD, ROBERT . 39. ENGAGEMENT BETWEEN THE “BLANCHE” AND THE “GUERRIERE,” July 109, - 1806. Watercolor drawing. . A well depicted naval duel between Frigates, clearly defined with con- siderable pictorial quality; showing the opening of the attack and the fight between these two well matched vessels—the Blanche, carrying 38 guns, and the Guerriére. 40 guns. The action was brief, the Guerriére surrendering after heavy firing. Height, 1234; length, 1614 inches. ._ . The Guerriére, after the engagement depicted above, was added to the British navy £ as a 38-gun em S Been DUNCAN ft ulon. 1803; died in 1882. Early in life he showed artistic ability and Was articled to Robert Havell. the engraver; subsequently he devoted himself to watercolor painting. He exhibited irom 1830 to 1882, chiefly at the Water- Color Societies, but occasionally at the Royal Academy. His marine subjects are noted for their qualities of purity and freshness. DUNCAN, EDWARD i 40. FISHING Boats Purtinc Out To Sea. Watercolor drawing. Signed with \ stamp in lower left corner,—*E. D.” q A really superb drawing of fishing craft off the coast, tacking into the open; marvelously fine in color and splendid breadth of handling. The atmos- pheric effects particularly well rendered displaying the eery light that i shows itself beneath the dark and lowering rain cloud whose leaden tones serve only to enhance the grace and movement of the craft on the dancing waves. The sheer beauty and harmony of color, the lively sense : of motion, and driving aerial masses, the composition and the clarity of = tone, makes this one of the finest examples from this artist’s brush. Height, 934; length, 1334 inches. DUNCAN, EDWARD 41. Two Stupies For THE Dereticr. Waiercolor drawing. Accurate drawings of the battleship Renown, from two different points of view; in each the hulk is shown canted on her side, her copper gleaming iridescent in the sunlight, while on the hull ship-breakers are seen at work. Height, 738; length, 1234 inches. These studies were for Duncan's picture of The Derelict, shown at Messrs. Walkers Galleries, in Bond Street, London, June, 1920. Sale, Monday Evening, February 7th C. C. EGERTON Lieutenant on board the Venerable 1812. EGERTON 2G. 42. H. M. Sure “VENERABLE.” Drawing. Signed and dated in lower right hand corner,—‘C. C. E. 1812.” A quaint, but careful detailed picture of His Majesty’s Ship Venerable, 74 guns. Height, 4; length, 4% inches. Drawn by C. C. Egerton who served as a Lieutenant on board the Venerable in 1812, and presented by him to his brother John. This vessel was subsequently wrecked. ANTHONY VANDYKE COPLEY FIELDING Son of an Artist; studied under John Varley and was one of the talented group who frequented Dr. Monro’s. He became President of the Watercolor Society, and was awarded the gold medal at the Paris Salon. FIELDING, ANTHONY VANDYKE COPLEY 43. THE MorninG Mist. Oz Painting on Canvas. A misty morning with the sun slowly penetrating the greyness, touching . with golden light the gradually revealed shipping calmly resting on the tranquil water, and giving color and form to both animate and inanimate objects. The tall spars with pendent sails, majestically tower upward in the soft light which penetrates to the glimmering horizon dotted with distant vessels, adding serenity to the placid beauty of the peaceful scene. The delicate harmony of color and quality of treatment, broad yet simple, are particularly pleasing. Height, 10; length, 14 inches. FIELDING, ANTHONY VANDYKE COPLEY 44. THE Lirtinc Foc. Watercolor drawing. Out of the drifting mist two vessels, a brig and a schooner, take shape, a patch of blue sky appears, and in the growing light a boatful of fisher- men are seen sculling out to their nets, whose corks and buoy lie quiescent on the still waters; two gulls and some fishing smacks complete this harmonious and tranquil scene, broken only by the ripples from the oars in the water. Admirably composed and well rendered. Height, 7; length, 10% inches. JAMES HOLMES James Holmes showed an early talent for Art and was apprenticed to an Engraver, but soon devoted all his time to painting. In 1817 he first exhibited at the Royal Academy, and later was one of the founders of the Soctety of British Artists. He was a great favorite of George IV, and possessing much muscial talent was in the habit of joining both in singing and playing with his Majesty. HOLMES, JAMES 45. STUDY OF A FRENCH FRIGATE AT ANCHOR. Watercolor drawing. A clever sketch of a 60-gun Frigate with sails unfurled and hanging free; astern are seen two boats and the outline (in pencil) of another Frigate with loosened canvas, a spare mainsail hanging between the fore and main masts, and the stu’ns’ls blowing freely in the breeze. Height, 6; length, 12 inches. This drawing is interesting as a study from the actual vessel seized at a time when the cloths were drying in the sunshine, probably after a stormy passage. [sr ON] | Bag AUIIO}S B UI yVOg ¥B Jo SuIduIeMG SNIODOH NHOL WVITTIM Sale, Monday Evening, February 7th JOHN HOOD John Hood, originally a shipwright at Limehouse, practised in watercolors about the middle of the 18th Century, and exhibited “Shipping” at the pee Garden Rooms. aston engraved some of his work. HOOD, JOHN | 46. VENETIAN STATE GALLEY. India wash drawing. Signed and dated, lowell lefts hand corner,—“J. Hood Del. Fecit. 1758.” An elaborately decorated State Barge or Galley, bearing a distinguished — visitor whose banner is shown at the head of the accommodation ladder at the Gangway. The elaborately carved stern profusely painted and | gilded is covered with a draped awning for shelter. The curious forward — slant of the foremast, the lookouts on the masts, the runway on the — projecting stem which carries the Lion of St. Mark for figurehead, the outboard gangway running along the sides, the quaint foc’s’le, in appear- — ance a fore-castle, and the banks of sweeps, forty in number; while on the mainyard six of the crew are engaged in furling the sail. In the dis- — tance lies Venice and around are seen typical Mediterranean vessels. 7 Height, 7; length, 10% inches. This rare and interesting drawing of this relic of a former time is well worth studying © as showing many antiquated details. WILLIAM JOHN HUGGINS William John Huggins began life asa sailor and passed his early days at. sea in the service of the East India Company. Later he settled in London as a painter of shipping, found remunerative employment, and exhibited at the Royal Academy. In 1834 he was appointed Marine Painter to the King, for whom he painted several large pictures now at Hampton Court. A number of his works have been engraved. HUGGINS, WILLIAM JOHN 47. THE BATTLE OF SOLEBAY. Watercolor drawing. A beautifully drawn and colored Naval Battle scene, representing the engagement between the combined British and French Fleets under the — Duke of York, the Earl of Sandwich and the Comte D’Estrees, and the — Dutch Fleet commanded by Admiral De Ruyter. Seventy-five large ships and forty Frigates are seen in a furious action, during which the Royal James which sustained the brunt of the attack took fire and blew up, with the loss of her commander, the Earl of Sandwich, and nearly 1000 of her crew. The French are shown retreating and taking refuge in the shallow waters off their coast. Height, 7%; length, 934 inches. HUGGINS, WILLIAM JOHN 48. SWAMPING OF A BOAT IN A STORMY SEA. Watercolor drawing. A well drawn and effective picture of a boat in a stormy sea evidently foundered while returning to the Ship, a “Seventy-four,” which under reefed spanker, Maintops’le and Jib, is riding out the storm. Moun- — tainous foam-topped waves are seen dashing over the ill-fated boat, while the ship’s crew are getting ready to launch another boat for their rescue. Well composed, excellently colored, and full of action. The forceful representation of the driving clouds and surging waves admir- ably rendered. Height, 11144; length, 1814 inches. [See Illustration] Sale, Monday Evening, F ebruary 7th HUGGINS, WILLIAM JOHN 49. DutcH DockyarD SCENE. Watercolor drawing. A well drawn and effectively colored representation of a Dockyard; at the right two vessels are seen in the course of completion on the stocks, in the foreground a dismantled hulk and in the stream a fishing smack is towed by a boat toward the further shore where a village and two wind- mills are seen. Admirable in treatment, simple and harmonious in color- ing, with truthful detail. Height, 6; length, 10 inches. HUGGINS, WILLIAM JOHN 50. FisHING Boats Orr SHORE, IN A STIFF BREEZE. Watercolor drawing. Two fishing smacks on different tacks, heeling over in the breeze; to the right are chalk cliffs, and-at the left other vessels are visible. Full of animation and movement, with fine feeling of light and air. Well com- posed with effective coloring. Height, 614; length, 9 inches. ABRAHAM HULK Abraham Hulk was a pupilof J. A. Daewelle at Rotterdam. In 1833 he went to the United States, later settling in London. He wasa frequent exhibitor at the Royal Academy and the Suffolk Street Galleries. HULK, ABRAHAM 51. CoAsT SCENE WITH FIsHING Boats. India and sepia wash drawing. Signed in lower left hand corner,—‘“A. Hulk.” A remarkably fine drawing of two fishing boats rounding to, off a pierhead; shown with splendid sense of movement and action, carefully yet freely handled, the definition of the clouds being remarkably good, the atmos- pheric quality well rendered, and the entire composition singularly effective. Height, 5%; length, 9 inches. WILLIAM HENRY HUNT William Henry Hunt, though born in humble circumstances and sickly asa child, overcoming his father’s objections, was apprenticed to John Varley and later admitted to the Academy Schools. He became one of the talented group who worked at Dr. Monro’s. His work was much esteemed and valued by his contemporaries. HUNT, WILLIAM HENRY 52. Two SrupiEs oF FISHING Crarr. Lead pencil drawings. Signed in lower right hand corners,—“W. Hunt.” Effective though rapidly sketched studies of fishing boats drawn up on the strand; executed with direct simplicity, absolute freedom and true to nature. On one mount. Height, 314; length, 35 inches. Sale, Monday Evening, February 7th WILLIAM AND JOHN CANTILOE JOY The father of “The Brothers Joy” was guard to the Yarmouth coach in which town they practised art for many years, working almost invariably together. Self taught and independent, they thoroughly understood the trim and rigging of vessels and their works are deservedly esteemed. About 1832 they removed to Portsmouth, and were employed by the Government to draw the various craft used by Fishermen. JOY, WILLIAM AND JOHN CANTILOE 53. IN THE Downs. Watercolor drawing. Signed on buoy at lower left hand corner,—“Joy.” A French Lugger sailing free, and beyond an English fishing Smack; to the left is seen a newly arrived ship awaiting the approaching pilot boat, while on the horizon other craft are visible. The technical quality of the draw- ing is of the highest merit, free and direct in handling, the clarity of tone ~ and purity of color is especially good, the treatment of the sky and water is noticeable for its verity and natural effect, the harmony and composition is splendid. Height, 1014; length, 14% inches. A brilliant and exceptionally fine example of the work of the Brothers Joy. FRANCIS JUKES Francis Jukes began art as a topographical landscape painter, but by great per- severance raised himself to much distinction as an aquatint engraver, which art he brought to great perfection. JUKES, FRANCIS 54. THE SMUGGLERS COVER. Watercolor drawing. A peculiarly effective drawing of two craft lying in a shallow inlet amid precipitous rocks, whose gaps lend shelter and concealment for a trade much pursued on the Southern coast of England during the French Revolutionary Wars. The coloring and treatment is unusual and interesting, the handling of the light and shade as well as the balance of sunlight and cloud lend to the picture poetic quality and charm. Height, 858; width, 234 inches. HENDRIK KOBELL Hendrik Kobell was the son of a merchant and intended for commercial pursuits, but receiving instructions in drawing showed his predilection by sketching the shipping and other scenery around Amsterdam. He was sent to England and ~ remained sometime in London, where he improved himself in art; later, aban- doning trade altogether he was received into the Academy of Amsterdam, becom- ing successful as a Marine painter, his works being held in high esteem. KOBELL, HENDRIK 55. HAWKE’s VICTORY AT QUIBERON Bay, 1759. Watercolor drawing. Signed and dated, upper right hand corner,—“H. Kobell. 1772.” A splendid rendition of a Naval action; vivid and striking, well detailed and carefully executed. Full of spirited action, displaying accurate technical knowledge, effective coloring and fine sense of composition. The handling broad, direct and facile, with well balanced atmospheric feeling, correctness of perspective and arrangement of subject. Height, 858; length, 1214 inches. 4 z) Sale, Monday Evening, February 7th KOBELL, HENDRICK 56. SHIPPING ON THE AMSTEL. Jndia wash drawing. Signed on barrel at lower left hand corner (indistinctly) ,—“H. Kobell.” A detailed drawing of a pleasing scene of tranquil activity, showing dif- ferent craft at anchor or plying on the River. In the foreground at the left is a full rigged ship; to the right a fishing boat of quaint rig, and as far as the horizon other vessels are scattered, while at the extreme left the houses and spires of Amsterdam are noticeable. The technical merit of this drawing is great, a careful sense of values being displayed and the atmospheric effects well rendered, a feeling of repose and quiet permeates the whole which is dominated by a glow of light falling softly on the rippling water. Height, 9%; length, 1334 inches. H. KOEKOEK - KOEKOEK, H. 57. AN AMERICAN WARSHIP DRESSED OvuT (CONSTITUTION?). Watercolor draw- amg. Signed in lower right hand corner,—“H. Koekoek.” A quaint and curious scene in the Mediterranean waters. An American Frigate with crew manning the yards is seen saluting the Captain’s barge which is departing with a distinguished visitor. It is interesting to note the manner of Dressing Ship shown here; the large size of the ensigns is noticeable, no signal flags, as at present known, being dis- played. The manner of flying two from the sprits’] yard by suspension on a weighted rope and the arrangement of the same from the yard-arms, the lowering of the tops’! yards, permitting two to fly between that and the to’gallant yard. The Artist’s conception of the American Flag runs largely to bars, of which he supplies double the normal quantity giving, in fact, thirteen of each color. Height, 7; length, 934 inches. C. H. LEWIS Re wis; CoH. 58. OUTWARD BounD, OFF THE NORTH FORELAND. Watercolor drawing. Signed in lower right hand corner,—‘“C. H. Lewis.” A British Clipper Ship, all sails set but the mans’le and spanker, driving majestically through the waves with a fair wind, and bound for the Indies. Other vessels are seen in the distance, while at the right tower the white cliffs of Albion dominated by the North Foreland Light. The treatment and handling is excellent, and extremely pictorial. Height, 1034; length, 19% inches. Sale, Monday Evening, February 7th PHILIP JAMES DE LOUTHERBOURG, R.A. Philip James de Loutherbourg, born in Strasbourg, was educated for the Church, but forsaking that for Art, studied in Paris under Casanova, subsequently settling in London. He first painted decorations, for Drury Lane Theatre, and later on was elected a-.member to the Royal Academy, where he had exhibited since 1772. His work was much esteemed and he enjoyed great popularity, many of his productions having been reproduced by the most representative engravers of the day. LOUTHERBOURG, PHILIP JAMES DE 59 THE BATTLE OF CAMPERDOWN. India wash drawing. A stirring naval engagement, with towering Three-deckers enveloped in flame and smoke. Thundering guns are hurling death and destruc- tion; torn sails and shattered masts loom out of the murk, and wreckage ~ to which cling survivors, strews the waters. The dreadful scene, splendid- ly portrayed, admirably drawn, effective in composition and broad in _ treatment, graphically renders the actual ardor and stress of the conflict. Cut at top and sides. _ Height, 184%; length, 28% inches. This original was engraved in line by W. Fittler, and published in 1801. PARKER, Page 135, b PETER MONAMY Peter Monamy was born in humble circumstances in Jersey, as a boy he was sent to England and apprenticed to a house-painter on London Bridge; later he attained a certain reputation as a Painter of Sea Pieces. MONAMY, PETER : 60. A SQUADRON OF WARSHIPS IN A StoRM. India wash drawing. Signed in lower right hand corner,—“P.M.” ) . A finely conceived detailed drawing of a number of vessels scattered on a stormy sea, whose hugh waves threaten destruction and disaster. In the foreground is seen a British First Rater with her to’gallant masts struck and yards lowered, riding out the storm, with only her spanker set to keep her head to the wind. Nearby is another ship whose main- mast has gone by the board, and in the distance, between the mountain- ous waves, the masts and spars of three others are visible. Height, 1014; length, 16 inches. MORNEWICK, H. MORNEWICK, H. 61. SHIPPING OrF WALMER. Watercolor drawing. Signed on spar at lower left hand corner,—“H. Mornewick.” Several vessels off the Cliffs at Walmer; at the right, is a brig under way, while beyond is seen another, evidently at anchor; on the left, a fishing boat, anchored, is furling her sails preparatory to casting her nets; other craft are visible in the distance, while, in the background, Walmer Castle crowns the heights. This example shows broad execution com- yr with delicacy of tone, moderate contrast and great freedom of CHect, Height, 1014; length, 15 inches, Sale, Monday Evening, February 7th SAMUEL OWEN Samuel Owen was early recognized as a Marine Painter, and from 1794 to 1807 exhibited Marine and Naval pieces at the Royal Academy. His works are care- fully colored and finished. OWEN, SAMUEL 62. FISHING BoATs OFF YARMOUTH. Watercolor Drawing. A spirited scene, full of action and movement; of yawls scudding along in a lively breeze, while nearby and outward bound is a ship with all sails set. The quality of coloring and the atmosphere are excellent, well handled and harmonious, the treatment broad and effective. Height, 434; length, 878 inches. RICHARD PATON Richard Paton, born in a low sphere of life, was befriended by Admiral Knowles, who took him to sea. His natural talent turned to Marine subjects and he became noted for his pictures of Naval Engagements. Four of his paintings being now at Greenwich, in the Naval Museum. Many of his works have been engraved by Canot, Lerpeniere, Woolett, Fittler, and others. PATON, RICHARD | oO, ENGAGEMENT OFF CAPE FRANCOIS, ere 21.1757; Plumbago, touched with India wash. Signed in lower left hand corner,—“By Richd. Paton.” An extremely interesting preliminary sketch for the engraving by P. C. Canot of this action, when a British squadron of three ships under the command of Capt. Arthur Forrest, successfully routed a French Fleet of seven Ships directed by Commodore de Kersaint. This drawing shows Van de Velde’s influence; being treated in his manner though lacking in the quality of that great Marine Artist. Height, 7; length, 12 inches. On the reverse in the artist’s handwriting is a list of the vessels engaged, with their armament and crew. From the Fairfax Murray and Dr. John Percy Collections. Collectors mark J.P., unknown to Fagan, on reverse, at lower right hand corner. WILLIAM PAYNE William Payne, originally in the Engineers Department at Plymouth, developed a love of Art, and self-taught struck out a new style, dexterously working with the brush almost excluding outline. Later settling in London he soon became the fashionable landscape and marine painter of his day. PAYNE, WILLIAM 64. OrF PLyMouTH. Sepia wash drawing. A racy and spirited sketch of two ships sailing past a rocky point on which ' are seen three figures, one looking through a telescope at the foremost vessel, and two others seated. Drawn with great facility, a pleasing effect of sunlight bathing the entire scene. ~ Height, 934; length, 13% inches. Sale, Monday Evening, February 7th NICHOLAS POCOCK Nicholas Pocock was the son of a Bristol Merchant, and when young commanded merchant vessels sailing from that port. He taught himself drawing and illus- trated his Journal with scenes he met with on his voyages. Later on he left the sea to devote himself to art, being thereto encouraged by Sir Joshua Reynolds. Paintings by him are in the Naval Museum at Greenwich and at Hampion Court. Many of his works have been reproduced by the Engravers of his day. POCOCK, NICHOLAS 65. Orr FLamporouGH Heap. India wash drawing. A clever drawing, beautifully composed and delicately treated in mono- chrome, so well handled as to convey all the quality of color. The atmospheric feeling and the movement of the water splendidly defined, clear and brilliant, full of movement and action. Height, 91; length, 1354 inches. POCOCK, NICHOLAS z 66. OrF WHITBY. Watercolor drawing. A splendid drawing, exhibiting a singularly clear and beautiful rendition of aerial perspective and atmospheric quality, delicate and harmonious in tone. The vigorous and appropriate treatment of the clouds, through which the sunlight permeates, gilding the waters and flooding the sky, the sea and the shore in a soft effulgent glory, producing a tonal value of © uncommon richness. The ship, whose careful detailed accuracy is noticeable, slowly undulating from side to side, as she gallantly forges through the cresting waves, pointing her masts heavenward as she leans to the breeze which bears her onward. In the distance the tall castle — crested cliffs stand guardian to the little fishing town of Whitby lying at their base. Height, 1414; length, 1934 inches. [See Illustration] SAMUEL PROUT Samuel Prout received his first instruction from a drawing master at Plymouth and for some years was employed by John Britton who published topographical views. From 1803 to 1827 he regularly exhibited at the Royal Academy; later, making many tours to the continent in “search of the picturesque,” he became celebrated as a painter of old buildings in Normandy and elsewhere, paying little attention to minute detail but producing brilliant effects of light, shade and color. He was appointed Painter in watercolors to George IV and Queen Victoria. Ruskin considered his productions highly meritorious. PROUT, SAMUEL 67. BEACHED FIsHING Boats. Watercolor, outlined in sepia, on blue paper. A remarkable drawing of Fishing craft drawn up on the strand, and lying alongside of one another with their sails spread and drying in the sun. The effect is extremely picturesque, and the well ordered and contrasting harmony of coloring in a pleasing key, charms the eye; while the com- position and general grouping is delightful, and the draftsmanship of a high order. The subtle production of pictorial effect by a series of graduated tones. of delicate color on the blue ground, and the fine sense of Vas exhibited in the handling of the light and shade is distinctly good. Height, 13%; length, 91% inches. | | | | | \ [99 ‘ON ] AqvuyM JO M9000d SVTIOHOIN a ee eee Sale, Monday Evening, February 7th PROUT, SAMUEL 68. ON THE BEACH, PLYMOUTH SOUND. Sepia wash drawing. A group of men fishing in the surf from a pierhead. In front of them the distant shore stretches out, while within the enclosed bay are seen various vessels. Handled with considerable vigor and direct simplicity, broad and effective in treatment, with a breezy sense of atmospheric feeling and well balanced values. Height, 64%; length, 14 inches. PROUT SS SAMUEL 69. DuTcH FISHING SMACKS, BECALMED. Sepia wash drawing. Five Dutch fishing craft, swaying idly on a glassy sea which mirrors their picturesqueness. Overhead, golden-edged clouds float in the clear light, while in the distance, a mist appears to rise. A wonderful charm per- vades the entire picture, which is executed with great simplicity and directness, displaying splendid atmospheric quality. The technique is broad, vigorous and singularly effective, showing a rapid surety of touch, combined with a fine sense of arrangement and composition. Height, 74%; length, 10% inches. From the collection of the Rev’d. Sir George Barrard, Bart. PROUT, SAMUEL 70. TRAWLING OFF THE KENTISH Coast. Sepia wash drawing. An especially splendid rendition of sea and sky, with a fishing smack in the foreground, from which a boat, actively engaged in seining has put off, the little craft tossing on the heaving waters while overhead the sun is bursting gloriously through the banked clouds. The marvellous effects of light and atmospheric quality are worthy of Turner at his best. The whole picture is realistic in its natural verity and fine sense of motion as expressed in the drifting sky and heaving waters. Height, 658; length, 9 inches. From the collection of the Rev'd. Sir George Barrard, Bart. PROUT, SAMUEL ee fee ae StorM. India wash drawing. Signed in lower left hand corner,— Bros A solemn and inspiring scene of a partly dismantled vessel at the mercy of the wind and waves, rolling heavily on the storm tossed waters, with the moon breaking through the clouds like a ray of hope. A dramatic effect, well and broadly handled, displaying dignity and feeling. Height, 814; length, 115 inches. From the collection of the Rev’d. Sir George Barrard, Bart. PROUT, SAMUEL 72. OFF THE CornisH Coast: TINTAGEL CastLE. India wash drawing. Signed in lower left hand corner,—‘S. P.” (in monogram). An imposing and majestic composition containing all the weird impressive- ness of Doré’s work. At the foot of the beetling crags, the wild waves bearing on their stormy surface a helpless derelict, are seen dashing their foaming crests, while in the murky sky the moon rises behind the frown- ing ruins of Tintagel Castle, lighting up the tragic scene. Broadly drawn with fine atmospheric effects, well defined aerial perspective, vigorous action and technical merit. Height, 656; length, 934 inches. From the collection of the Rev'd. Sir George Barrard, Bart. [sz ON] . ssoudooyS Po syn} ; ; LAOUd TAOAINVS Sale, Monday Evening, February 7th PROUT, SAMUEL | . 73. HuLKs Orr SHEERNESS. Lead pencil drawing. Signed on stern of left hand vessel,—“S. P.” (in monogram). An interesting study of two wind and weather beaten hulks, lying stem and stern, off the shore, ready to be towed in the Medway for dismantling. 3 Drawn with meticulous precision and extreme detail. Height, 10; length, 154 inches. Goa On the reverse, the drawing is most carefully repeated, having been probably traced through for soft ground etching or for engraving, the thinness of the paper justifying this assumption. Great technical excellence and natural fidelity is displayed in the treatment and handling of this example. [See Illustration] J. H. RANDALL RAN DAR Iiea [eect 74. THE BATTLE OF THE NILE. Watercolor drawing. Signed in lower right hand corner, — “J. H. Randall.” A bold and vigorous drawing depicting that moment during the Battle of the Nile when the ill-fated Orient, commanded by Commodore Casa Bianca, after being set on fire in the mizzen chains, the flames spreading with great rapidity, the burning mass illuminating the scene to the horizon, finally blew up with a tremendous explosion. The two antagon- istic fleets are seen in line-of-battle, dealing destruction and devastation amid the lurid flame and smoke of the contest. Height, 1614; length, 24% inches. GEORGE PHILLIP REINAGLE George Phillip Reinagle was the son of Phillip Reinagle, R. A. by whom he was — instructed in art. Specializing in Marine subjects, he accompanied the British Fleet to the Battle of Navarino and was also with Admiral Napier’s fleet in the action with the Portuguese, paintings of which by him were exhibited at the Royal Academy. He had a good knowledge of shipping and was of much promise as a Marine painter, but died early in his career. REINAGLE, GEORGE PHILLIP 75. View OF VALETTA HarsBor, Matta. Lead pencil drawing. Signed in lower left hand corner,—‘“G. P. Reinagle.” At the left, the Asia, 84 guns, is seen lying alongside the mole, with two Maltese Xebecs nearby. To the right, two Frigates—the Glasgow and Mosquito are at anchor, with other craft scattered about; in the dis- tance the low lying hills of the island. Cleverly executed with great delicacy and grace of handling. Height, 514; length, 9 inches. T. 5. ROBINS ROBINS hao: 76. THE CHANNEL FLEET Orr PorTLAND BILL. Watercolor drawing. Signed in lower right hand corner,—“T. S. R.” (blind). ; A superb representation of the “Wooden Wall of Old England” manouver- ing in the Channel. The splendid sense of movement and atmosphere strike the observer at once; while the minor key of coloring in exquisite tonal values, the effect of aerial perspective displayed in the vast dis- tances, the free and spirited action of the water and broad sweep of the drifting clouds combine in a resultant quality rarely seen in marine paintings. The handling exhibits great breadth, infallible facility, and intuitive knowledge of maritime detail, as well as remarkable manifesta- tion of original composition. Height, 1314; length, 1934 inches. [sz ON] FIN oy} JO Mpeg oT, NOSGNVIMOW SVINOHL Sale, Monday Evening, February 7th | ANTON ROUX The brothers Anton and Frederic Roux, making their headquarters at Marseilles, painted many of the old Clipper Ships of New England as well as of other nations which put into that port. Examples of their work reproducing many of the old time vessels are to be found in most of the maritime collections throughout the New England States. ROUX, ANTON a ‘ . . 77. H. M.S. “RATTLESNAKE,” IN MARSEILLES RoaDs, 1828. Watercolor drawing. _ A drawing of the Rattlesnake, 28 guns, exhibiting great accuracy and clear definition of every part, each rope and spar duly and correctly placed and reproduced with absolute verity. The coloring nicely modulated, the handling carefully and efficiently precise, giving a clear and un- questionably exact representation of the ship. ~ | Height, 15; length, 22 inches. THOMAS ROWLANDSON GReEGO, Rowlandson; Vol.I, p.19, quotes Cruikshank as follows,—“He had never ~ geen anything superior in his estimation to Rowlandson’s waterside and maritime sketches, for their clear freshness and simple air of fidelity to nature; the banks of the river, the Pool filled with vessels, wharves, landing-places, ports and naval stations with the noble men-of-war lying off; and the bustling craft travelling between the fleet and the shore; the groups of busy figures, farand near, happily introduced in a state of seeming activity; the shipping which he drew with pic- turesque ease and dexterity, his far spreading landscapes and distant horizons, the treatment of the water, the movement of his skies, and the general sense of expanse and atmosphere, were beautiful in the extreme, all noted down, as they were, without apparently a second thought, with the slightest possible labour, recalling in a forcible degree the drawings of William Vandevelde, who was, in Cruikshank’s opinion, the only artist whose marine studies could be quoted in comparison with those of Rowlandson.” ROWLANDSON, THOMAS ; 78. THE BATTLE OF THE NILE, BURNING OF “L’ORIENT.” Watercolor drawing. Signed in lower left hand corner,—“T. Rowlandson.” The ill fated L’Orient, is seen occupying the principal plane of the picture, dismantled and almost destroyed, her decks aflame, with clouds of smoke pouring from her, veiling the rest of the fleet whose topmasts can — be seen above. At the right, Nelson’s ship, the Vanguard, 74, is seen and — beyond, the masts of other ships; a boat action fills the right foreground. The vigor and activity of the contest splendidly portrayed with the inimitable characterization peculiar to Rowlandson. The composition and treatment unsurpassed, and the general effect excellent, both in directness and simplicity of representation and tonal quality. Height, 11; length, 1534 inches. [See Illustration] ROWLANDSON, THOMAS 79. PortsMouTH PoInt, LANDING PASSENGERS. ‘Pen and wash drawing in India. | _ An animated and interesting scene depicting the arrival of passengers of varying degrees, from the shipping lying in the harbor, by way of luggers _ beached at the shore, delivering their living freight in small craft. A wheeled wherry, drawn by men, accommodating some of the new comers, others carried pick-a-back from the small boats near the water’s edge. The bustling movement and alert action of the remarkably well drawn and characteristic groups, create an effective sense of life and motion, backgrounded by the splendidly simple definition of the stately ships riding at anchor. Height, 634; length, 954 inches. [See Illustration] THOMAS ROWLANDSON Portsmouth Point [No. 79] Sale, Monday Evening, February 7th ROWLANDSON, THOMAS 80. THE Poot or Lonpon. Pen and wash drawing, in Sepia, tinted. Signed in lower right hand corner,—“T. Rowlandson.” A clever and characteristic drawing of shipping at anchor in the Pool of — London, looking down the river, while various small craft are scattered about. In the foreground are seen two wherries, with the watermen in conversation, and at the extreme right a dismantled hulk, the whole forming a pleasing and animated picture. Drawn with wonderful facility and dexterous knowledge, exhibiting with absolute naturalness — 4 the buoyancy of the different vessels upon the surface of the placid waters. Height, 644; width, 934 inches. ROWLANDSON, THOMAS 81. ON THE RIVER Dart. Watercolor drawing in outline. Signed and dated in lower left corner,—“T. Rowlandson, 1801.” A charming and delicately colored scene on the banks of the River Dart. In the foreground is seen an animated group just landed from one of the coasting vessels, and at the left the boat on-which they arrived. At the right, a fishing craft, beached with an attendant dingey along- side, and in the stream sailing skiffs and rowboats plying to and fro while other shipping lines the shore. Height, 6%; length, 658 inches. ROWLANDSON, THOMAS 82. LAUNCHING A FRIGATE, OR How To GET RID OF A TROUBLESOME WIFE. Watercolor drawing in outline. Signed with the monogram,—“T. R.” A whimsical humoresque drawing of a woman on a plank, filling a kettle in the stream, unconscious of her husband behind her, armed with a> broom and about to launch her in the river. A waterside house with projecting bay is seen behind the man’s figure; alongside lies a small sailing craft and others in the distance on the opposite side of the water. On a board forming the base of the fence surrounding the forecourt of the building is inscribed “High Water Mark,” and to the left in the handwriting of the artist is the title,—“Launching a Frigate or how to get rid of a troublesome wife.” Height, 534; length, 9 inches. J. A. RUST IOUS eas 83. DutcH Fisuinc Boats Orr AmsTERDAM. India wash drawing, touched with sepia. Signed and dated on reverse side,—“J. A. Rust, 1844.” A clear and facile drawing of a fishing craft off shore, simple and direct in treatment, with particularly good atmospheric feeling; the sky and water laid in with dexterity and truthfulness, producing a fine sense of distance. On the horizon at the left, in a soft haze, the spires and roofs of Amsterdam are visible. Height, 534; length, 8% inches. [Fs ON] Ppvo|speoy ¥ UI SUTATIIY 9]¥SII VW ‘Vu ‘SAUYaS OININOd : ae Sale, Monday Evening, February 7th — DOMINIC SERRES, R.A. Born, 1722; died, 1793. He was intended for the Church by his parents, ran away to sea, and starting as a common sailor became master of a vessel trading with the West Indies. Taken prisoner by the British he was brought to England, and studying drawing decided to become a Marine artist. He was one of the foundation members, of the Royal Academy and later was appointed Marine Painter to King George III. SERRES, DOMINIC 84. A FRIGATE ARRIVING IN A ROADSTEAD. Watercolor drawing. A splendid representation of a 28-Gun Frigate letting go her sails prepara- tory to furling them, her decks lively with bustling activity as she rounds to before dropping her anchor; surrounding her are numerous craft, some lying lazily on the rippling water, others with all sails set moving in the faint breeze. A charming scene of maritime activity, the fine sense of space and air is noticeably good, the light clouds drifting overhead with the pervading sunlight touching them and tinting the tiny wavelets lends a peaceful charm to a fascinating and restful scene. The technical merit of this drawing is potentially good; simplicity, breadth of handling, tonal quality and fine composition are united with exceptionally successful results. Height, 11%; length, 18% inches. [See Illustration] JOHN THOMAS SERRES Born, 1795; died, 1825. Was the eldest son of Dominic. Brought up under his father’s eye he naturally imbibed a love of art; attaining manhood he undertook teaching and was drawing master of a Marine School at Chelsea. He contributed to the Royal Academy, regularly from 1870 on, and at the death of his father succeeded him as Marine Painter to the King. In 1805 he published his ‘‘Liber Nauticus, or Instruction in the Art of Marine drawing.” SERRES, JOHN THOMAS 85. THE CUTTING OUT OF THE “ESMERALDA.” Watercolor drawing. Original and brilliant work, furnishing a record of a most dashing enter- prise, conceived and conducted by Lord Cochrane, that XVIIIth century Palladin, while in the service of the Chilian Government. The picture exhibits great simplicity and peculiar strength of tone; the firm touch, the comprehension and expressive detail is most striking: the coloring, while sober in tone, has delicacy of feeling and harmonious quality, every stroke being done with extreme precision. and certainty. Great clouds piled up in compact masses reflect the ~ fiery blaze that invades the whole sky to the horizon, against which © the precisely drawn shipping is silhouetted, the weird light flooding the waters with a ruddy glow. Height, 11; length, 211% inches. [See Illustration] [es on] bon THE V. WINTHROP NEWMAN COI MADISON SQUARE SOUTH NEW YORK CITY 1921 ! Re] we x = ~ (at met i < Si a il XN ra += ak nS) a” ie . SPRY 6 aK Ne ek o@* : “is ~ ‘~ % % A ~ * i 4 J \ : e : ne y ¢ ‘ / ‘ . 5 - «~ “ee 2 A Sd, eae » ; eas ¥ 7 —- = » > - ES ae e Pye * rine . x Nn) anaes Oe r ; & a 5 aS ges ge oe 3 Z sX TES ae He Se og J 1 Se es SS eG ga ia bey a es Heit * . 9 é 3 : ‘ x * = ie = t Fu 4 A zs ; ; REN. cee ee % 328 Zr SA i My ee 4 = = :