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Our website was last updated on: 22 June 2017
 
(K) SEASCAPES, SHIPS AND LANDSCAPES


Portrait of H.M.S Royal Adelaide 1837; Attributed to Joseph Walter.
Oil on canvas in a gilt frame.

HMS ROYAL ADELAIDE LYING AT ANCHOR IN THE HAMOAZE AT DEVONPORT, WITH A LONGBOAT CARRYING DISTINGUISHED VISITORS HEADING INSHORE OFF HER STERN, THE BUILDINGS OF THE ROYAL WILLIAM VICTUALLING YARD ON THE OPPOSITE BANK.
Bears signature and date 1837, oil on canvas.

The first rate warship Royal Adelaide was laid down in Plymouth Dockyard as the London in May 1819. A larger version of Nelson's Victory, she displaced 4,122 tons, measured 198 feet in length with a 54 foot beam, and mounted 104 guns on three decks.
She was one of the earliest Royal Navy ships to have planking right round the bow at the height of the forecastle. However attempts to strengthen the stern in a similar way meant depriving the officers of their large windows and glass doors and met with indignant opposition. They objected to being deprived of their comfort, so the windows and glass doors remained open to devastating broadsides from astern.
Originally called HMS London she was nine years on the stocks before being launched on 28th July 1828 in the presence of the Lord High Admiral, the Duke of Clarence (later King William IV), as HMS London, she was christened by his Duchess and immediately renamed HMS Royal Adelaide in honour of the future Queen Adelaide.
Spending most of her career as Port Admiral's flagship at Plymouth, she was transferred to Chatham in 1891, where she served as Receiving Ship until 1904, and was finally broken up at Dunkirk in 1905.

JOSEPH WALTER (17831856) was an English marine painter in oils and watercolour, working at Bristol and Portishead. He gained notice for his portrayals of Brunel's steamships Great Western and Great Britain.

Walter was born in Bristol and died there, but was living in Portishead at the time that he exhibited his first known work, 'View from Portishead towards Wales' (1832). This was at the Bristol Institution in 1832, in the first exhibition of the Bristol Society of Artists. He is not known to have been associated with the Bristol School of artists in the 1820s. However surviving sketches suggest that he did take part in the revival of the school's sketching meetings in the 1830s. His drawing technique shows similarities to that of the leading Bristol School artist Samuel Jackson.

Walter's subjects included shipping at Bristol, Southampton, Malta and Saint Lucia. He also portrayed Dutch vessels in the style of the Dutch artists Van de Velde and son, for example in Dutch vessels in a fresh breeze (c. 1851). He exhibited at the Royal Academy from 1837, and also at the Society of British Artists.

SIZE: 32.5 x 44 inches inc. frame.
PROVENANCE:*London, Sotheby's, 5th December 1923, lot 139 as by J. Walter, from the Maude Collection.
*Bought by the previous owner's father in the late 60s from a dealer as an autograph work.

Verso: a 1986 restorer's label. (The painting was conserved by our restorer in December 2015)

Our thanks to Michael Naxton for his expertise.
Ref: 8921
Price: £12,950
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Dutch Shipping in Choppy Waters c.1650, by Claes Claesz. Wou.
Oil on marouflaged panel.

This excellent painting of a group of Dutch vessels is typical of the work of this artist.
Claes Claesz. Wou was born in Amsterdam in 1592 and died there in 1665. His work is quite rare as few of his paintings have survived.
Like many artists at that time he had additional sources of income; in his case as a dealer in tobacco and working as a panel maker. Many other artist in Amsterdam bought their panels from him.

Wou was a painter very much in the Flemish tradition, his early works being strongly influenced by van Eerrtvelt, Vroom and van Wiringen; but he is better known for his later works which show the influence of Jan Porcellis and Simon de Vliegher. Paintings of this period are often three of four ships, usually in choppy water or a storm, and are characterised by the typical use of grey and brownish tones.

SIZE:25 x 34 inches inc. frame.
PROVENANCE: English Private Collection.
Ref: 8686
Price: £5,950
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A Squadron of Dutch Warships leaving Harbour c.1650; Attributed to Jan Peeters.
Oil on oak panel in finely carved giltwood frame.

The artist captures the beauty of these heavily gunned ships of the line as they sail with the shore wind, their sterns carved with the elaborate gilt 'gingerbreading' fashionable in the 17th century.
Large warships were the most powerful weapon on earth, with the fire power of an artillery regiment.

During the 17th century the Dutch Republic was involved in a number of wars, many of them at sea. The main goal of the Dutch navy was to protect shipping lanes all over the world and, if need be, to repel a naval invasion of Dutch territory; the Dutch fleet was the largest of the world at the time and was a formidable force.

JAN (orJohannes) PEETERS I (24 April 1624 1677) was a Flemish Baroque painter who specialized in seascapes and shipwrecks, known as Zeekens (small seascapes).
Peeters was born and died in Antwerp. He was taught to paint by his brothers Gillis Peeters (16121653) and Bonaventura Peeters (16141652). He became a master of Antwerp's Guild of St. Luke in 1645, and like his brother Bonaventura, he specialized in dramatic scenes with dark billowy clouds.
In 1654 he married Catherine Buseliers. In 1659 he spent several months touring the Netherlands. He had two children, Jan Frans and Isabella.

This painting belonged to SIR PATRICK LEIGH FERMOR, DSO, OBE (1915-2011) until his death aged 96.

Paddy, as he was always known,was a British author, scholar and soldier, who played a prominent role behind the lines in the Cretan Resistance during World War II.
He was widely regarded as "Britain's greatest living travel writer", with books including his classic 'A Time of Gifts' (1977). A BBC journalist once described him as "a cross between Indiana Jones, James Bond and Graham Greene."

During the German occupation, he returned to Crete three times, once by parachute. He was one of a small number of Special Operations Executive (SOE) officers posted to organise the island's resistance to German occupation. Disguised as a shepherd and nicknamed Michalis or Filedem, he lived for over two years in the mountains. With Captain Bill Stanley Moss as his second in command, Leigh Fermor led the party that in 1944 captured and evacuated the German Commander, General Heinrich Kreipe. The Cretans commemorate Kreipe's abduction near Archanes.

Moss featured the events in his book 'Ill Met by Moonlight: The Abduction of General Kreipe' (1950). It was later adapted as a film by the same name, directed/produced by Michael Powell and Emeric Pressburger and released in 1957. In the film, Leigh Fermor was portrayed by Dirk Bogarde.

Leigh Fermor's funeral took place at St Peter's Church, Dumbleton, on 16 June 2011. A Guard of Honour was provided by serving and former members of the Intelligence Corps, and a bugler from the Irish Guards sounded the Last Post and Reveille. Leigh Fermor is buried next to his wife in the churchyard at Dumbleton.

SIZE: 25 x 42.5 inches inc. frame.
PROVENANCE: Collection of Sir Patrick Leigh Fermor DSO, OBE.
Ref: 8687
This item has been sold





British warships off a Mediterranean coast c.1675; Circle of Adriaen van Deest.
Oil on canvas in a reproduction 17th century style walnut frame.

A good seventeenth century marine painting of a group of British men-of-war of a rocky Mediterranean coast.
The artist captures the beauty of the heavily gunned ships of the line with their sterns carved with the elaborate gilt 'gingerbreading' fashionable at this time.
These warships were the most powerful weapon on earth, with the fire power of an artillery regiment.

ADRIAEN VAN DEEST (1655-1704) was born at the Hague, the son of Jeronymus van Diest, a painter of sea-pieces, by whom he was instructed in the art. When he was seventeen years old he moved to London, where he was employed by Granville, Earl of Bath, for whom he painted several views and ruins in the west of England.
He also painted portraits, but did not meet with much encouragement, although his pictures possess considerable merit; as a proof of which Horace Walpole states that there were seven pictures by Van Diest in Sir Peter Lely's collection. He etched several landscapes from his own designs, in a slight, masterly style. Van Diest died in London in 1704.

SIZE: 31 x 49.5 inches inc. frame.
PROVENANCE: Berkshire Private Collection.
Verso: framers's labels.
Ref: 8706
This item has been sold





A Riverside Town c. 1780; Dutch School.
Oil on canvas in the original giltwood frame.

A charming Dutch painting in the Italianate style that was fashionable with Dutch artists from the mid 17th century into the 19th. Inspired by the sophisticated compositions of the Italian masters this, as yet unknown, artist has filled his scene with warm, Mediterranean light.
Italianate landscapes were the most influential and highly regarded.
From the 17th century a trip to Italy was considered an important part of an artist's training. Dutch painters went there to study the landscape, ancient ruins and sculptures, and the unique light. On their return to the Netherlands, many of these artists continued to paint Italianate landscapes, others adapted what they had learnt to suit the Dutch taste for religious and secular paintings.

SIZE: 17.5 x 20.5 inches inc. frame.
canvas: 14 x 16.5 inches.
PROVENANCE:Private Collection, Oxford.
Ref: 8833
This item has been sold





SOLD....An English Flagship off a Port c.1705, by Tobias Stranover.
Oil on canvas in giltwood frame, signed lower left.

A fine marine painting by Stranover depicting a squadron of English warships off a Continental port.
In the background can be seen a beached vessel being careened and, judging by the smoke, re-tarred.
The artist captures the beauty of the heavily gunned ship of the line as she heels with the shore wind, her stern carved with the elaborate gilt 'gingerbreading' fashionable around 1700.
These warships were the most powerful weapon on earth, with the fire power of an artillery regiment.

TOBIAS STRANOVER (Stranovius) (1684-1756) was a Transylvanian Saxon painter in England, born in Sibiu.
Stranover arrived in England in 1702 in the company of the English Ambassador to Constantinople, William Paget, who had met him in Transylvania. He studied painting under the mastership of his father-in-law in London. He worked in the Netherlands, Hamburg, Dresden and London.
Stranover did very well in England and it was said, soon after his arrival, that he "already excels amongst painters".
His speciality became still lives and flower paintings but this seascape, one of his earliest works, shows he was equally talented as a sea painter.
According to most references Stranover died 'after 1724' or 'after 1731', however, a letter from his brother-in-law mentions him alive in 1733 and on p.396 of the London Magazine of 1756 a laudatory poem dedicated to him mentions the exact date of his death: February 26, 1756.

SIZE:54 x 36 inches inc. frame.
PROVENANCE: Sir John Tomlinson Hibbert KCB (1824-1908) of Hampsfield, Lindale, nr. Grange over Sands.
Thence by descent through the family to the present day.
LITERATURE: E.H.H. Archibald 'Dictionary of Sea Painters'. Illustrated p.265, plate 134. (see Image 5).
Ref: 8653
This item has been sold