SELECT FINE ART

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HENRY SCOTT
1911 - 2005
"Driving Seas-Great American Clipper Flying Cloud"
Framed Size:  39 inches by 40 inches

A noted English artist who specialized in marine subjects, Henry Scott worked in both oil and watercolour, but it is for his oils of sailing ships under full sail on blue seas that he is best known.  He exhibited between 1950 and 1956 at the Royal Society of Marine Artists with titles including, "The Lighthouse, Portishead, Somerset", "Sea Area Viking", and "Sea Area Dogger", etc.  Because Scott was acquainted with many sailing captains and earned their respect, he was made an honorary member of the International Association of Master Marine Mariners-a group often referred to as “the Cape Horners.” A study of his paintings clearly shows that he had a profound understanding of the sea and sailing vessels, and could convey the atmosphere of the sea beautifully.  Scott is best remembered for his depiction of historical sea subjects and portraits of deep water sailing ships, usually in a stiff breeze and a high sea.   His work is very detailed and accurate with a strong sense of movement, and painted in a similar style to his noted contemporary, Montague Dawson.  

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STEPHEN RENARD
Born 1947
"Ingomar and White Heather with Cariad and Meteor III, 1904"
Framed Size:  44 inches by 68 inches

The all steel schooner Ingomar was designed and built by the renowned Nat Herreshoff in Bristol, Rhode Island in 1903.  Registered at 142 tons gross, she measured 97 feet in length with a 24 foot beam and carried 11,520 square feet of canvas under full sail.  Brought to Europe by her owner, Morton F. Plant, for her maiden season in 1904, Ingomar competed at Cowes and also in the Emperor’s Cup race from Dover to Heligoland.  Proceeding from there to the Kiel Regatta, she displayed great speed when racing against Hamburg and the Kaiser’s yacht, Meteor.  In 1908, she was sold to Daniel R. Hanna of Cleveland who kept her until the outbreak of World War One in 1914.  By 1920, ownership had passed to Henry W. Howe of New York.The first White Heather was a handsome composite yawl designed by William Fife and built by J.G. Fay in Southampton early in 1904.  Registered at 151 tons gross, she measured 91 feet in length with a 20 foot beam and provided good sport against Ingomar when they met at Cowes in 1904 in their maiden season.  Although fast, she proved “somewhat tender” for her original owner, Myles Kennedy, resulting in her being sold to H.B.L. Sedgwick after the end of the 1906 season.  She was still sailing in the 1920s, but her later career was overshadowed by the achievements of her namesake White HeatherII. This wonderful example of Stephen Renard’s work depicts Ingomar and White Heather with Cariad and Meteor III racing off the Royal Yacht Squadron in Cowes in 1904.

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STEPHEN RENARD
Born 1947
"Before the Start, Yankee and Britannia off the Royal Yacht Squadron, 1935"
Framed Size: 48 inches by 68 inches

Stephen Renard was born at Huddersfield, England in 1947 and graduated from Liverpool University with a degree in the natural sciences.  He spent three years at training college and, while Head of Biology in a Liverpool school, developed a passionate interest in sailing.  Abandoning teaching, Renard made a living as a portrait artist, took lessons in ink drawing, and became a freelance illustrator.  After purchasing a boat in 1981, he taught himself to sail and was painting ships as a hobby.  Since then, he has concentrated on yachting subjects, following in the footsteps of Steven Dews.   In addition, he has been asked to work as the in-house artist for the Royal Thames Yacht Club and for his first commission produced a painting of the Spithead review, honouring the birthday of Queen Elizabeth, the Queen Mother.

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STEPHEN RENARD
Born 1947
Title: “Reliance and Shamrock 111, America’s Cup Race, 1893”
Framed Size: Height  24”  inches Width  33”  inches

This wonderful example depicts yacht races in 1893 between Reliance and Shamrock 111. William Fife
designed Shamrock 111. She was tank-tested but still owed more to art than science and was Lipton`s only white challenger, the others being bright Irish green. She was relatively conventional, but for the first time a wheel was substituted for a twelve foot tiller. She had no winches for controlling the sheets, purchase being achieved the conventional way by blocks and pulleys.  Reliance, designed by Nat Herreshoff and built in his Yard, was altogether different. Her concept was so extreme that some thought that it was to demonstrate the folly of exempting the Cup racers from the rules governing other racing classes to produce more seaworthy boats. Her 54 foot overhang was an incredible 40% of her overall length and she was designed to heel sufficiently to increase her waterline from 90 to 130 feet in only 7 knots of wind. This gave a theoretical hull speed of 15 knots. She had two steering wheels and a hollow rudder that could be filled with water or pumped dry to change the feel of the helm. She had sophisticated winches with ball bearings and automatically shifting gears, many positioned below deck. Her spars were lightweight steel and the topmast retracted into the mainmast. The hull was webframed bronze and her decks aluminum. Once her function as a race winner was achieved she was broken up for scrap two months after the last race.  She retained the Cup by winning three consecutive races, the last of which saw Shamrock failing to finish after getting lost in a fog and retiring. However, in Shamrock`s favour, despite her relatively primitive gear, she only lost the second thirty mile race by one minute and nineteen seconds on corrected time.

STEPHEN RENARD
Born 1947
Title:  “Satanita Leading Britannia & Vigilant off the Royal Yacht Squadron, 1894”
Framed Size: Height  24”  inches Width  33”  inches  

  
This wonderful example represents the very best of Stephen Renard’s work depicting yacht races in 1893 when Vigilant beat Valkyrie 3, a near sister ship to Britannia, to retain the America’s Cup.  The following year she sailed to take on the best of the British racing fleet.  By the end of the Season she had been narrowly beaten by the slightly smaller Britannia, but had very successfully overcome the disadvantage of foreign waters and a damaged mechanism that meant for some of the races she could not drop her lifting keel and maximize her draft.  This said, on a reach, the Satanita was the fastest cutter ever built and could outpace any comparable craft in the right conditions. 

PETRUS PAULUS SCHIEDGES
1813 - 1876
Heavy Seas
Date:  1859
Framed Size:  13 inches by 16 inches

Considered to be one of the “masters” of Nineteenth Century Dutch marine painting, Petrus Paulus Schiedges was born in The Hague on 7^th June 1813 and died on the 1^st December 1876.   He received his formal training at the Technical College and also studied with important marine artist Johan Hendrik Louis Meijer (1809-1866).  Schiedges was the Curator of the Gemeentemuseum and he also worked as a lithographer.    He exhibited widely in Amsterdam and The Hague from 1832 to 1875.   Examples of his work are part of the collections of the Gemeentemuseum, The Hague, Prins Hendrik Museum, Rotterdam and Scheepvaart Museum, Amsterdam.  Pure mastery of marine painting is evident in this well composed painting which illustrates the superb handling and variety of subject exhibited in Schiedges’ work.   This wonderful example of Petrus Paulus Schiedges’ work which is typically Dutch in its influence and conception is presented in pristine condition and is signed and dated by the artist. 

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PETRUS PAULUS SCHIEDGES
1813 - 1876
Unloading the Cargo and Choppy Seas
Date: 1858
Framed Size: 15 inches by 19 inches

Considered to be one of the “masters” of Nineteenth Century Dutch marine painting, Petrus Paulus Schiedges was born in The Hague on 7^th June 1813 and died on the 1^st December 1876.   He received his formal training at the Technical College and also studied with important marine artist Johan Hendrik Louis Meijer (1809-1866).  Schiedges was the Curator of the Gemeentemuseum and he also worked as a lithographer.    He exhibited widely in Amsterdam and The Hague from 1832 to 1875.   Examples of his work are part of the collections of the Gemeentemuseum, The Hague, Prins Hendrik Museum, Rotterdam and Scheepvaart Museum, Amsterdam.Pure mastery of marine painting is evident in these beautiful paintings which illustrate the superb handling and variety of subject exhibited in Schiedges’ work.   The balanced compositions demonstrate the artist’s technical ability depicting the extremes of impending turmoil and picturesque calm.  These well composed pictures are wonderful examples of Petrus Paulus Schiedges’ work which is typically Dutch in its influence and conception.  They are presented in pristine condition in their original period frames, and are signed and dated by the artist.  Verso are old labels that read “Purchased of the Director of the Museum of The Hague, Holland, June 16^th, 1858, Johua Vincent” and also Frost and Reed Gallery labels.

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JEAN BAPTISTE OLIVE
1848 - 1936
Coucher de Soleil Sur la Baie de Marseille
Date: circa 1890
Framed Size:  40.5 inches by 51 inches

Jean Baptiste Olive is considered a master of coastal and marine painting.  He was born in Marseille, France on the 31st of July 1848 and received his formal art training with Antoine Vollon, J Gustave and Gustave-Marius Julien.  He exhibited at the Paris Salon from 1874 and was elected a member of the Society of French Artists in 1889.  Throughout his lifetime many honours were bestowed on him including: an Honourable mention in 1882, Third class medal in 1885, Second class medal in 1886, Silver medal in 1889 at the Exposition Universelle, Chevalier de la Legion d'honneur in 1899, Silver medal in 1900 at the Exposition Universelle,  officer of the Legion d'honneur in 1923,  member of the jury and committee of the Society of French Artists and le Prix Bonnat in 1930.   As with the most accomplished of marine painters, Jean Baptiste Olive's paintings are evidence of a sound and thorough training.  His ability to convey to the viewer the strength and movement of the sea in an impressionistic manner yet carried forward with an accuracy of detail never fails to satisfy the eye.  The sea, often regarded as the most difficult of subjects to paint held the fascination of  Jean Bastiste Olive for most of his career.  Apparently formless and elusive to all who have not disciplined themselves to record it, the sea, like the human figure or any other department of nature, has structure and detail and of course infinite colour.  In Olive’s direct and powerfully realised style, he has added considerable knowledge to the old masters of marine subjects, particularly in regard to breezy colour-effects in which the sea plays a prominent part in the pictorial design.  The enduring appeal of Jean Baptiste Olive's work has ensured him a place in museums and important private collections including: Paris-Musee du Louvre and Palais du Luxembourg;  Marseille-Musee du Vieux Marseille, Musee Longchamp and the Palais de Justice;  Aix-en-Provence-Musee Granet;  Nimes-Musee dÁrt et Histoire;  Alger and Bezier.  His place as one of the greatest marine artists will remain unchallenged for decades to come.  This superb example of his work is presented in pristine condition. 

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JEAN BAPTISTE OLIVE
 1848-1936
La bord de la corniche avec pecheurs
Date: circa 1890
Framed Size: 41 inches by 52 inches

 Jean Baptiste Olive is considered a master of coastal and marine painting.  He was born in Marseille, France on the 31st of July 1848 and received his formal art training with Antoine Vollon, J Gustave and Gustave-Marius Julien.  He exhibited at the Paris Salon from 1874 and was elected a member of the Society of French Artists in 1889.  Throughout his lifetime many honours were bestowed on him including: an Honourable mention in 1882, Third class medal in 1885, Second class medal in 1886, Silver medal in 1889 at the Exposition Universelle, Chevalier de la Legion d'honneur in 1899, Silver medal in 1900 at the Exposition Universelle,  officer of the Legion d'honneur in 1923,  member of the jury and committee of the Society of French Artists and le Prix Bonnat in 1930.   As with the most accomplished of marine painters, Jean Baptiste Olive's paintings are evidence of a sound and thorough training.  His ability to convey to the viewer the strength and movement of the sea in an impressionistic manner yet carried forward with an accuracy of detail never fails to satisfy the eye.  The sea, often regarded as the most difficult of subjects to paint held the fascination of  Jean Bastiste Olive for most of his career.  Apparently formless and elusive to all who have not disciplined themselves to record it, the sea, like the human figure or any other department of nature, has structure and detail and of course infinite colour.  In Olive’s direct and powerfully realised style, he has added considerable knowledge to the old masters of marine subjects, particularly in regard to breezy colour-effects in which the sea plays a prominent part in the pictorial design.  The enduring appeal of Jean Baptiste Olive's work has ensured him a place in museums and important private collections including: Paris-Musee du Louvre and Palais du Luxembourg;  Marseille-Musee du Vieux Marseille, Musee Longchamp and the Palais de Justice;  Aix-en-Provence-Musee Granet;  Nimes-Musee dÁrt et Histoire;  Alger and Bezier.  

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GUISEPPE CASCIARO
1863-1945
La Marina Grande, Capri
Date: 1926
Framed Size: 23 inches by 33 inches

This important Italian Impressionist painter was born in Ortelle on the 9^th March 1863 and died in Naples on 20^th October 1945.  He received his formal art training with Paul Emilio Stasi in Spognano, moving to Naples to study with Filippo Palizzi, Domenico Morelli, Stanislao Lista and Gioacchino Toma at the Institute of Fine Arts.  Having completed his studies, he traveled widely in Europe, exhibiting in Paris in 1900 and in Munich.   He received numerous awards and medals including an award at the Academy in 1889 and a bronze medal at the Exposition Universelle in Paris in 1900.  In 1882, he met Antonio Mancini, one of the great Masters of modern Italian Impressionist painting who also studied under Domenico Morrelli at the Institute of Fine Arts in Naples and who was to influence his work for many years.   Painting in watercolour, pastel and oil, Casciaro was acknowledged as one of the important exponents of modern Italian painting.  His work is bold, daring and robust in palette with striking impasto technique.  His paintings are both realistic and visionary.

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GIUSEPPE CASCIARO
1863-1945
Casa di Pescatori, Capri
Date: 1926
Framed Size: 28.5 inches by 34.5 inches

This important Italian Impressionist painter was born in Ortelle on the 9^th March 1863 and died in Naples on 20^th October 1945.  He received his formal art training with Paul Emilio Stasi in Spognano, moving to Naples to study with Filippo Palizzi, Domenico Morelli, Stanislao Lista and Gioacchino Toma at the Institute of Fine Arts.  Having completed his studies, he traveled widely in Europe, exhibiting in Paris in 1900 and in Munich.   He received numerous awards and medals including an award at the Academy in 1889 and a bronze medal at the Exposition Universelle in Paris in 1900.  In 1882, he met Antonio Mancini, one of the great Masters of modern Italian Impressionist painting who also studied under Domenico Morrelli at the Institute of Fine Arts in Naples and who was to influence his work for many years.   Painting in watercolour, pastel and oil, Casciaro was acknowledged as one of the important exponents of modern Italian painting.  His work is bold, daring and robust in palette with striking impasto technique.  His paintings are both realistic and visionary. This superb example of his work was exhibited at the Esposizione di pittura italiana     del'800, n. 78, in Chicago in 1934 and verso is the original exhibition label. 

ALFRED MONTAGUE
1832-1883
Titles:  Blowing Hard and Hay Barges
Date: 1872
Framed Size:  20 inches by 30 inches

Blowing Hard and Hay Barges are a marvelous pair of marine paintings, skillfully portraying the sea and vessels in an accurate and truthful manner.  Not only was Alfred Montague a draughtsman, but he could also beautifully paint atmospheric skies and give life to the wind and ocean in his paintings.  Examples of his work may be seen at the National Maritime Museum, Greenwich; Salford Art Gallery; and the City of York Art Gallery.