1. Fine Art & Prints

1.00/4.48  PERIOD WHALING PRINT.  Very, very scarce mid-19th century American chromolithograph depicting a dramatic whaling scene.  This classic depiction shows a huge sperm whale spouting in a flurry as it is attacked by two whaleboat crews.  In the foreground the oarsmen pull hard as the mate in the bow readies his lance.  The other crew has been capsized by the angry whale’s flukes and the hapless men are tossed head over heels into the sea as their boat is being crushed.  In the distance the mother ship can be seen cutting in.  A blanket piece is hoisted on the port side and the tryworks are boiling as smoke rises out.  The scene is boldly titled “MITCHELL & CROASDALE successors to B. W. Ridgeway & Co. DEALERS IN SPERM, WHALE, LARD & TANNERS OIL, CANDLES, RICE & c. No. 30 Nth WHARVES, ABOVE ARCH ST. PHILADELPHIA.”  It is signed lower left “Printed by Wagner & McGuigan” and on the lower right “Lith by W.H. Rease. N.E Cor. 4th & Chesnut St.”  The entire scene measures 10 by 13 inches sight.  It has been professionally framed with French matting under glass measuring 15 ¾ by 19 ½ inches.  The simple but very nice rich hardwood frame with full paper backing measures 18 ¾ by 19 ½ inches.  Excellent original condition noting a light fold down the middle.  The original image is excellent for an original print of this type approximately 160+ years old.  Bargain priced 795

1.99   FAMOUS EARLY ENGRAVING.  Guaranteed authentic, period copper plate engraving depicting the namesake of America, entitled “Amerigo Vespucci” in an elaborate setting befitting his discovery of “America.”  This original depiction shows the famous explorer surrounded by iconic elements rich with the promise of fascinating new discoveries.  At the top is a celestial globe describing the constellations.  It is flanked by floral wreaths and festooned garlands.  The image of the explorer himself is very bold.  He holds a mariner’s chart divider and an early compass with a galleon in the background.  Another terrestrial globe is to his left.  Two dragon-like dolphins adorn the bottom of the image which is boldly entitled “AMERICUS VESPTUTIUS” at the bottom.  Beautifully framed under old wavy glass in an antique orate gilt gesso frame  9 ½ by 14 1/2 inches sight.  The frame measures 12 ¼ by 17 ¼ inches.  Outstanding original condition for this historic relic over 350 years old!  Ready to hang.   One of the oldest antiques we have ever offered.   595

The famous explorer Amerigo Vespucci (1451-1512) was a Florentine (Italy) navigator whose  name “America” was given to the newly discovered continent.  Between 1497 and 1504, he sailed on two voyages in the “Age of Discovery;” the first on behalf of Spain (1499–1500) and then Portugal (1501–1502).   In 1501, while on his Portuguese expedition Vespucci determined that Brazil was part of a fourth continent heretofore unknown to Europeans.   He called it the “New World.”  His claim inspired cartographer Martin Waldseemuller to recognize Vespucci's accomplishments.  In 1507 he applied the Latinized name "America" to a map showing the New World.  Other cartographers followed suit.  By 1532 the name America was permanently affixed to the newly discovered continent(s).

In 1671 cartographer and bookseller, John Ogilby, published “America, being an accurate description of the New World.”  Ogilby’s book was an English translation of a work describing North and South America by Dutch writer Montanus.  Ogilby’s “America” was lavishly illustrated with plates and maps by Jacob van Meurs, the Amsterdam engraver who published the original Dutch version.  Subsequently he allowed Ogilby to borrow his copper plates.

Although it claimed to be “An accurate description of the New World,” the work contained many errors which included fanciful descriptions of the people and animals of the Americas. Since neither Montanus nor Ogilby had actually visited the New World they were reliant on explorers’  accounts and secondhand descriptions.  Even so, the book was widely read by Europeans fascinated by the New World.  Despite its shortcomings, it continued to be a valuable source of information about the flora and fauna of America at that time.  It also provided an illustrated account of the arrival of the Native Americans (assuming they immigrated from somewhere else) and the exploration and conquest of the New World by the Europeans, beginning with Christopher Columbus.

1.98  WORLD CLASS MARITIME BROADSIDE.  Ultimately rare! Proudly offered here is an amazing early depiction of maritime flags from around the world at the very beginning of the 18th century!  Unbelievably, this museum piece is still in private hands rather than on public display.  Of French origin, it is entitled “Tableau Des Pavillons que les Vaisseaux Ve toutes les Nations arboureni sur les Mers.”  Signed and dated “par Matthieu Seutter 1712.”  It contains no less than 112 engraved images of country flags flown by seafaring nations of the era.  The black and white printing process of the time was beautifully enhanced by meticulous hand coloring.  Many of the governmental flags represented have long disappeared over the centuries.  But some are still recognizable.  They include: “Royal Anglettere (Britain), Jerufalem, Royal France, Provence, Anglais Jack, Calais, Dunkerque, Finland,Hollande, Malte, Pavillion du Pape, Portugal, Venise, Tunis, Florence, Monaco, Algier, and Chine Empereur” among others.

The top of the display is inset with an elaborate compass rose depicting the 32 Cardinal, Intercardinal and sub-points of the compass.  Each is identified.   A second inset at the bottom center depicts 7 port quarter views and one starboard quarter view of period Naval ships with elaborate decorated sterns, identified by number.  Four are shown engaged in battle.  These are (top, left to right), “1.  Pour parler au Commendant,  2. Pour appeler les Captaines avec leurs principaux pilots., 3. Pour appeler les Capitaines a bord., 4. Pour la decouverte de quelque danger., 5. Pour apparceiller de jour., 6.  Pour la décourverte de Vaisseaux. 7.  Pour fairepasser les Vaisseaux derrière le Commendant., 8.  Pour la decouverte d une terre oừ l’on veut aborder.”  This magnificent presentation was professionally conserved with acid-free mounting under real glass in a genuine antique gilt gesso frame befitting its importance. The outer dimension of the frame is 30 by 36 inches.  The frame opening measures 29 ½ inches by 23 ½ inches.  The actual image measures 28 ½ inches by 22 ½ inches sight.  Overall condition and preservation is simply remarkable after more than 300+ years!  This medium is a stone lithograph on laid, rag paper with watermarks.  The images are clear and crisp.  Made long before chromolithography, the hand-coloring is rich, meticulous and without flaw.  The coloring alone must have taken skilled artisans untold hours of dedicated work.  Truly amazing!  Without a doubt this rare piece belongs in a museum.  But -- for now at least -- it is still available for YOUR private museum!Price Request

This presentation represents the oldest piece of artwork we have ever offered in the 41 years we have been in business.  312 years old!

1.97  PAINTING, AMERICA’s MOST FAMOUS SHIP.  Water color on silk, H. Shimidzu, Japanese, early 1900’s.  Exquisite rendering of one of the most enduring and fabled ships in the United State Navy, the venerable USS CONSITITION, depicted here underway in choppy seas under full sail.  The majestic ship is shown flying the commissioning pennant from the main and old glory at the stern.  Significantly, many crewmen are shown precariously astride the bowsprit reefing the jib sails while many more are portrayed on the foc’sle.   It is boldly signed “US. FRIGATE “CONSTITUTION BY. H. SHIMIDZU. YOKOHAMA JAPAN. 1930. “  The painting measures 14 ¼ by 20 ¼ inches.   It is in brilliant, MINT condition, having never been displayed or seen the light of day.  For over 90 years it has been kept in its original tube with the silk pinned to its rice paper backing.   A very rare depiction of the famed American ship known as “OLD IRONSIDES”  by this noted Japanese port painter. 1195

From the estate of a pre-War American merchant marine sailor.

Ship portrait artists, in the tradition of earlier European port painters, began appearing in Japan in the early 1900’s.  The first and perhaps best known marine painter of that era was H. Shimidzu, who painted from his studio in Yokohama, Japan.   He created a number of small to medium size oil and watercolor paintings on silk and became a very popular ship portraitist.  His works show a high degree of skill and accuracy which usually depicted steamers or sailing ships.  He sometimes included a local background, often Mount Fuji.  Shimidzu is represented in the Peabody Museum, Salem, Massachusetts as mentioned in their Catalogue and in other literature about Marine Artists (e.g., Archibald, “Dictionary of Sea Painters” and Dorothy Brewington, “Dictionary of Marine Artists”).  

1.96  WATERCOLOR ON SILK.   H. Shimidzu, Japanese, early 1900’s.  Amazingly detailed painting of the famous Confederate Clippership SHENANDOAH in a gale.  The painting is signed lower right “SHENANDOAH By. H. SHIMIDZU, Yokohama Japan. 1930.”  It portrays this most famous rebel ship plowing through massive storm tossed seas under reefed sail on the main and mizzen.  Details of the ship are exquisite, with the artist conveying dramatic movement and magnitude of the moment.  The painting measures 14 by 19 inches.  It is in brilliant, MINT condition, having never been displayed or seen the light of day.  For over 90 years it has been kept in its original tube with the silk pinned to its rice paper backing.   A rare depiction of a classic Civil War clippership by this most famous Japanese ship portrait painter.  Ready for framing.  995

Interestingly, Shimidzu has taken artistic license in portraying SHENANADOAH as a 4-masted bark, when in reality she had 3 masts!

From the estate of a pre-War American merchant marine sailor.

Ship portrait artists, in the tradition of earlier European port painters, began appearing in Japan in the early 1900’s.  The first and perhaps best known marine painter of that era was H. Shimidzu, who painted from his studio in Yokohama, Japan.  He created a number of small to medium size oil and watercolor paintings on silk and became a very popular ship portraitist.  His works show a high degree of skill and accuracy which usually depicted steamers or sailing ships.  He sometimes included a local background, often Mount Fuji, or in this rare case, the Tokyo skyline.  Shimidzu is represented in the Peabody Museum, Salem, Massachusetts as mentioned in their Catalogue and in other literature about Marine Artists (e.g., Archibald, “Dictionary of Sea Painters” and Dorothy Brewington, “Dictionary of Marine Artists”).

Name:  SEA KING, SHENANDOAH, EL MAJIDI
Port of Registry:  Liverpool        
Builder :   Alexander Stephen & Sons, River Clyde, Scotland
Launched :   August 17, 1863

Renamed :   CSS SHENANDOAH
Fate:  As EL MAJIDI foundered in November 1879
Type:  Extreme clipper hull
Tonnage:  1018
Length:  230 ft
Breadth:  32.5 ft
Draft:  20.5 ft   
Complement:  109 officers and men

CSS SHENANDOAH, formerly known as SEA KING then EL MAJIDI, was an iron hulled full-rigged sailing ship with teak decking famous for her actions under LCDR James Waddell of the Confederate States Navy during the American Civil War.

SHENANDOAH was originally a British merchant ship launched as SEA KING on August 17, 1863, but was repurposed to become one of the most feared commerce raiders in the Confederate Navy.   For more than 12 months from 1864 to 1865, the ship undertook commerce raiding around the world in an effort to disrupt the Union's economy.  Its efforts resulted in the capture and the sinking of 38 merchant vessels, most of which were whaling ships. She finally surrendered on the River Mersey, Liverpool on November 6, 1865, fully six months after the war had ended!  SHENANDOAH was known to have fired the last shot of the Civil War when she encountered a whaler in waters off the Aleutian Islands.

Initially intended for the Far East tea trade and troop transport for the growing intervention of Western powers in China, she began to be fitted out as U.S. representatives assessed her for purchase.  After a number of trips carrying cargo to the Far East and transporting troops to the New Zealand Wars, the Confederate Navy secretly purchased her from Wallace Bros. of Liverpool in October 1864.   Renamed CSS SHENANDOAH, the ship was converted into an armed cruiser with a mission to capture and destroy Union merchant ships. Liverpool was the unofficial home port of the Confederate overseas fleet and the city provided ships, crews, munitions, and provisions of war.

SEA KING sailed from London on October 8, 1864, ostensibly for Bombay, on a trading voyage.  At the same time the Steamer LUAREL sailed from Liverpool.  The two ships rendezvoused at Funchal, Madeira.  LUAREL carried officers and men, along with naval guns, ammunition, and ship's stores.  The new Confederate cruiser was commissioned on October 19, 1864, lowering the Union Jack and raising the Confederate flag under the name CSS SHANANDOAH.

At the outset, the Confederacy tasked SHANANDOAH to strike at the Union's economy by "seeking out and destroying" its global commerce.  Captain Waddell began attacking enemy merchant ships on the Indian Ocean between the South Africa and Australia, and in the Pacific.  En route to the Cape of Good Hope, the Confederates captured 6 prizes.  After the crews and passengers had been removed 5 were burned or scuttled. The sixth was bonded and used to transport the prisoners to Bahia, Brazil, where they were released.

1.95  WATERCOLOR ON SILK.   H. Shimidzu, Japanese, attributed.  Amazingly detailed painting of a rare pre-war waterfront scene depicting American shipping in Tokyo Harbor circa 1930.  This panorama is undoubtedly by the hand of the very talented Japanese port painter H. Shimidzu who worked in Japan in the 1920’s and 30’s.  What is most unusual about this particular work is it’s not a typical Shimidzu ship’s portrait, but rather a panorama portraying several famous American steamships underway in the harbor.  On the left is a cargo/passenger steamer belonging to the old Dollar Line.  In the center is a passenger liner of the Matson Line.  On the right is a passenger liner of the States Line.  All 3 ships are underway out of the harbor with their bow wakes clearly visible.  The artist has meticulously captured the Tokyo waterfront with buildings, skyline and docks clearly depicted.   The painting measures 14 ¼ by 20 ¼ inches.   It is in brilliant, MINT condition, having never been displayed or seen the light of day.  For over 90 years it has been kept in its original tube with the silk pinned to its rice paper backing.   A very rare marine panorama by this most famous Japanese port painter. 1195

From the estate of a pre-War American merchant marine sailor.

Ship portrait artists, in the tradition of earlier European port painters, began appearing in Japan in the early 1900’s.  The first and perhaps best known marine painter of that era was H. Shimidzu, who painted from his studio in Yokohama, Japan.   He created a number of small to medium size oil and watercolor paintings on silk.  He became a very popular ship portraitist.  His works show a high degree of skill and accuracy which usually depicted steamers or sailing ships.  He sometimes included a local background, often Mount Fuji, or in this rare case, the Tokyo skyline.  Shimidzu is represented in the Peabody Museum, Salem, Massachusetts as mentioned in their Catalogue and in other literature about Marine Artists (e.g., Archibald, “Dictionary of Sea Painters” and Dorothy Brewington, “Dictionary of Marine Artists”).  

1.94  SHIP’s PORTRAIT.   Early 1900’s oil on artist board painting of the very large ship identified on its port bow as the EVERETT G. GRIGGS underway at sea.  The painting is twice signed in a collaboration by 2 famous Australian marine artists.  On the lower left is the signature of “GODFREY, Newcastle NSW” and lower right is the signature of “G. EDGAR.”   This interesting depiction shows the vessel under shortened sail plowing through heavy seas with massive spray.  The name “EVERETT G. GRIGGS” is clearly visible on the port bow.  Forward, below the foc’sle, is the figurehead with trailboard and anchor.  On the foremast the fore lower topsail bears a distinctive black ball.  Deck details include several crewmen, deckhouse, 2 lifeboats and helmsman at the wheel on the poop deck.  Seagulls are seen frolicking astern.  This work is beautifully executed bearing close scrutiny under magnification.  The painting has rich colors with vivid contrast.   It measures 18 by 24 inches sight.  Excellent original condition with very little restoration.  It is housed in a lovely antique gilt frame measuring 24 by 30 inches.  A classic marine painting with a very, very rare American subject well over 100 years old!  2900

Literally only a handful of 6-masted ships were ever built in the short period from about1890 to 1910.  Of those, virtually all were schooner rigged.  This ship with square sails on the foremast is known as a 6-masted barkentine.  In our extensive search, we have found no other examples of this rare rig.

The imposing ship EVERETT G. GRI GGS (-1910) was a 6-masted barkentine of 2577 tons which was originally built in 1883 as the 4-masted iron hull ship LORD WOSELEY by the famous Harland & Wolff shipyard in Belfast, Ireland (builders of TITANIC), where she was. delivered to the Irish Ship owners Co. (T. Dixon and Sons, managers) and registered in Belfast.    She was 308 feet in length with a breadth of 43 feet and a draught of 25 feet.   In 1898 she was sold to J. C. Tidemann & Co. of Bremen Germany and renamed COLUMBIA.   In April 1903 she was dismasted in a gale off of Cape Flattery while voyaging from Japan to Vancouver, Washington.  The disabled ship was towed to Vancouver where its hulk was used as a barge until the following year when it was sold to C.E. Peabody of Vancouver.  Found to be seaworthy, the hull was rerigged as a 6-masted barkentine at the Moran Shipyard  in Seattle.  She was renamed EVERETT G. GRIGGS,  with Victoria, Canada registration.  In 1910 she was purchased by Captain E.R. Sterling of Baines, Washington and renamed for the final time E.R. STERLING.  Subsequent to a damaging voyage from Australia in 1927, she was towed to England and sold to the breakers in Sunderland, England the following year.

This painting represents a rare collaboration between 2 famous Australian marine arts, William Godfrey and W. Edgar:

William Godfrey was a ship portraitist and photographer active in Newcastle, Australia in the late 1800’s.  His works are displayed at the California Historical Society, San Francisco, California and the Mariners Savings and Loan Association, (Matson Navigation Collection) Newport Beach, California.

W. Edgar worked in the Walker Studio Sydney, Australia circa 1879-1903.  His works are exhibited in the Bath Maine Museum (now Maine Maritime Museum, Bath, Maine); California Historical Society, San Francisco, California; the Peabody Museum, Peabody, Massachusetts and War Memorial Museum, Auckland, New Zealand.

(Source:  Dorothy Brewington, “Dictionary of Marine Artists,” 1982, Peabody Museum, Salem, Massachusetts in conjunction with Mystic Seaport Museum, Mystic, Massachusetts.)

1.91/5.24   ORIGINAL BATTLESHIP MAINE LITHOGRAPH.  Authentic, period stone chromolithograph of the immortal American Battleship U.S.S. MAINE, certainly one of the most famous battleships in American Naval history.  This vivid high quality color image depicts the ill-fated ship at anchor from a starboard quarter perspective in happier times.  The detail is exceptional and bears close scrutiny under magnification.  It reveals many ship details including several sailors on the main deck as produced from an original copyrighted photo dated 1896.  The bottom of the image contains extensive information on the ship’s characteristics and armament.  This is NOT a modern dot matrix reproduction, nor is it a page from a book.  It was printed in large format for singular display.  With full margins it measures 8 ½ by 12 ½ inches.  Outstanding original condition.  Very worthy of framing.  59

The explosion and sinking of the Battleship MAINE (ACR-1) in Havana Harbor on February 15, 1898 with the loss of 260 American lives, led to America declaring war on Spain.  On April 23rd, after much Yellow Journalism and political wrangling, Congress declared that a state of war had existed between the U.S. and Spain since April 21, the day the U.S. began to blockade Cuba.  In the ensuing 10 weeks U.S. Naval and land forces thoroughly decimated Spanish forces. It was during this period that the vast majority of "Remember the Maine" articles of all types were offered to the American public in an effort to gain popular support for the war.  This image predates the sinking.

Subsequently, with resounding defeats in Cuba and the Philippines, Spain sued for peace.  Hostilities were halted on August 12, 1898, when a Protocol of Peace between the United States and Spain was signed in Washington.  The formal peace treaty was signed in Paris on December 10, 1898.  As a result of the war the United States gained all of Spain's colonies outside of Africa, including the Philippines, Guam and Puerto Rico, excepting Cuba which became a U.S. protectorate.  These gains prompted John Hay, America's Ambassador in Britain, to refer to it in a letter to his friend Theodore Roosevelt as "the splendid little war." Theodore Roosevelt and George Dewey benefited greatly from their participation in the war.  Both men gained immediate fame as national heroes.  Roosevelt's fame ultimately propelled him to the White House.
Years later it was determined the Battleship MAINE did not explode and sink due to hostile action, but as a result of its faulty boilers.

1.90/5.17   PERIOD NAVAL LITHOGRAPH.  A fine, stone lithograph taken from an original photograph of the “U.S. Protected Cruiser COLUMBIA” as entitled at the bottom.  This especially clear portside view of the late 1800’s state-of-the art fighting ship shows her at anchor with her boats alongside.  She flies the Jackstaff at the fore and the American ensign at the stern.  One of the 4 imposing smokestacks belches coal smoke.  The colorful image it is signed “From Copyrighted Photo by William H. Ran.”  Below this is detailed information about the ship’s characteristics and armament.  Full margins.  12 ¼ by 8 ¼ inches.  Outstanding state of original preservation after more than 120 years!  39

The USS COLUMBIA (C-12) was the 4th ship in the U.S. Navy to be named after the city in South Carolina.  She was built by the William Cramp Shipyard in Philadelphia and launched on July 26, 1892 and commissioned on April 23, 1894.  Her distinctive 4 smokestacks assured her place in history as a transitional steam warship from the 1800’s.  But at that time, even as a steamship, she was still classified at a sailing schooner with 2 masts!

COLUMBIA joined the North Atlantic Squadron in1894 and visited Europe in 1895 to represent the United States at the opening of the Kiel Canal in June.  Returning home, she was placed in reserve in May of 1897.

Recommissioned on March 15, 1898 for service in the Spanish–American War, COLUMBIA patrolled the Atlantic coast and West Indies until late August.  She carried American troops to Puerto Rico and participated in America’s occupation in July and August.   She was decommissioned and placed in reserve at Philadelphia Navy Yard in March 1899.

Recommissioned in August 1902, COLUMBIA, was the receiving ship for the Atlantic Training squadron.  In anticipation of World War I she was the assigned the stature of Submarine Flotilla flagship and was detached to patrol the Delaware Breakwater in April 1917.  In July she joined the Cruiser Force Atlantic and escorted troops of the American Expeditionary Force to France.

In July she joined the Cruiser Force as a convoy escort.  In that capacity, between January and November 1918, she made five Atlantic crossings.  In January 1919, she became flagship of Squadron 2 Destroyer Force Atlantic, operating on the East Coast and the Caribbean. She was relieved of that duty in May and was decommissioned at Philadelphia Navy Yard June on June 29, 1921

Reclassified as CA-16 on July17, 1920, she was renamed OLD COLUMBIA and was struck from the Naval records on June 21, 1922.

1.89  SHIP’s PORTRAIT.  Conrad Freitag, German American (1843-1894), oil on canvas painting of the 3-masted schooner H.S. WILLIAMS underway off the port of New York with shipping on the horizon.  The handsome ship is shown under full sail plying a wavy green sea.  She flies the owner’s pennant form the main mast, the ship’s name pennant from the aftermast and the American ensign from the spanker.  Deck detail is excellent and at least 7 crewmen are depicted  including the helmsman.  Below the bowsprit is the billet with ornate trailboard and the ship’s name board “H.S. WILLIAMS” clearly visible.  In the distance are a larger steam/sail vessel and at least 3 other vessels under sail.  Freitag’s treatment of the water is especially realistic.  Few marine painters capture the essence of the open sea.  It is signed and dated lower left, “C. Freitag N.Y. 1875.”  This large painting measures 35 ½ by 25 /12 inches sight.   It is mounted on its original stretcher in its original simple gilt wood frame measuring 40 ¼ by 30 ¼ inches.   It bears the original framer’s label of “James K. Kelleher & Sons, New York City, N.Y.”  It also bears an exhibition label reading “Ships.  SCHOONER “H.S. WILLIAMS” by C.  Freitag, N.Y. 1875 A53000”  What is remarkable is the entire painting is in untouched, original condition without any restoration or inpainting whatsoever!  This work of art comes directly from a single owner family.  8900

Conrad Freitag (1843-1894)  was an American artist in Brooklyn, New York .  He served honorably in the Civil War and discharged in 1865 to convalesce in New York.  His first painting was a scene of the Battle of Spotsylvania.  He soon turned to painting maritime scenes and he was best known for his portraits of New York pilot boats.   His paintings were exhibited at the Brooklyn Art Association and the National Academy in the 1870’s and 80’s.  His works are on now display at the Mariners Museum Newport News, Virginia; Mystic Seaport Museum, Mystic, Connecticut; the Peabody Museum, Salem, Massachusetts; and the Staten Island Historical Society, Staten Island, New York.

1.87 AMERICAN PAINTING.  Gordon Grant, (1875-1962), American, watercolor on artist’s paper, signed in a flourish lower right “Gordon Grant.”  This colorful rendering by the preeminent turn-of-the-century American marine artist is of exceptional size, measuring 15 ½ by 21 ½ inches sight.  It depicts the Boston Harbor pilot number “4” heading to sea against the wind destined to board a large 2-masted schooner in the distance.  The scene dates circa 1865.  The vessel flies a commissioning pennant from the main mast and the American ensign from the spanker.  The helmsman and a single crewman are depicted on deck.  This dynamic presentation shows great action.  The colors are as distinctive and brilliant as the day it was painted!  It is professionally framed and matted with a color-matched border in a modern wood and gilt-lined frame under glass.  The opening measures 21 ½ by 27 ½ inches.  The frame is 24 ½ by 30 ½ inches overall.  Perfect original condition in all respects.  In this medium they don’t come any nicer.  1975 

Gordon Hope Grant was a famous American artist, best known for his maritime watercolors.  He was born in San Francisco in 1875, and died in 1962.  He produced war time posters during WW I and illustrations for many books and magazine covers including the “Saturday Evening Post” and illustrations for the BSA magazine “Boys’ Life” in 1911.  He was the illustrator for “The Story of American Sailing Ships” by Charles Strong, the “Scarlet Plague” by Jack London, the “Eternal Sea” by William Williamson and many other works.  Grant was a member of the Association of American Artists.  Large numbers of Gordon Grant prints have been issued and sold throughout the years.  This is an original!

1.88  PAINTING.  Reuben Chappell (1870-1940), English.  Watercolor on heavy artist’s paper depicting a 2-masted North Sea topsail schooner plowing through heavy seas.  It is signed lower left “R. Chappell.”  This expertly rendered painting depicts the plucky vessel under full sail with name pennant and call sign flags flying in a stiff breeze.  3 crewmen are shown on deck as the vessel makes its way under menacing skies. Seagulls frolic around the bow and stern  showcasing this very dramatic scene at sea.  The name pennant flying from the after mast reads “NORA CAIN.”   This lovely painting is professionally mounted in its conservation mat within a traditional birds eye maple frame with gilt liner under glass.   It measures 17 by 22 inches sight.  The handsome frame is 24 by 28 ½ inches.  Outstanding original condition in all respects.  The painting is bright colorful with only insignificant tiny imperfections.  Circa 1900. This artist’s museum-quality painting is well represented around the world in major museums. 1195 

Reuben Chappell, (1870-1940) was born in Goole, England.  At a young age he went to sea.  Self-taught, he became a very respected port painter, selling the majority of his works to sea captains and ship owners whose vessels plied the seaways between England, Denmark and Sweden.  His works are extensively displayed in the following museums:  Alands Sjofarsmuseum, Mariehamn, Finland; Bremen Focke-Musuem, Bremen, German Federal Republic; Ferens Art Gallery, Hull England; Francis Russell Hart Nautical Museum, Massachusetts Institute of Technology, Cambridge, Massachusetts; Handels-og Sofartsmuseueet, Pas Kronborg, Helsingor, Denmark; Maritime Museum, Troense, Denmark; Batuional Maritime Museum, Greenwich; Peabody Museum; Norsk Sjfartsmsuesum and Oslo; Sjofartsmuseum, Goteborg, Sweden.    (Dorothy Brewington, “Dictionary of Maritime Artists,” 1982, Peabody Museum, Salem, Massachusetts).

NORA CAIN was a topsail schooner of 122 tons, 91 feet in length, 22 feet in breath, with a draft of 10 ½ feet.  She was built in Bridgwater, England by W. Thompson in 1871 for the North Atlantic trade.   (“Lloyd’s Register of Shipping, London,” 1871).

1.84/5.15 SPANISH-AMERICAN WAR GROUPING. Three genuine historically important items directly pertaining to the war fought between the United States and Spain in 1898. They are:

• A studio-produced photograph of Admiral Dewey, hero of the Battle of Manila Bay ,who famously ordered the command "You may fire when ready Gridley." This sepia toned image is signed lower right "Nilsen's Studio Cincinnati O." It measure 6 3/8 by 4 ¼ inches. There is a noticeable crease in the upper right hand quadrant which is now stable. The image is bright and crisp.


• Brilliant chromolithograph boldly entitled "THE BATTLE OF MANILA." At the bottom center is the notation "Fought May 1st By Rear Admiral Dewey. Spanish Loss 11 Ships. 150 Killed. 250 Wounded. American Loss None." At the lower left is the portrait entitled "Rear Admiral Dewey." The same image as the photo offered above. The lower left is signed, "No. 1209 Copyright 1898 By Muller, Luchsinger & Co. New York." The colorful scene depicts 3 American ships and 4 Spanish vessels in the heat of battle. The image is perfect. It measures 11 ¼ by 15 ¾ inches sight. 16 by 20 inches overall. There are two tiny, inconsequential tears on the periphery and a very minor loss to the lower right corner. Condition must be rated excellent for this print over 120 years old!


• Gentleman's pocket watch fob with a copper pendant the size of a penny bearing the same profile, embossed "HERO OF MANILA ADMIRAL GEO. DEWEY." The reverse bears the broadside of a battleship reading "DEWEY'S FLAG-SHIP OLYMPIA." It is attached to an ornate chain consisting of 11 sections, each with embossed recurring designs. The end is fitted with a typical spring-loaded necklace clasp. 13 ½ inches long overall. Excellent original condition. ALL THREE FOR 295

The explosion and sinking of the Battleship MAINE (ACR-1) in Havana Harbor on February 15th, with the loss of 260 American lives, led to America declaring war on Spain.  On April 23rd, after much Yellow Journalism and political wrangling, Congress declared that a state of war had existed between the U.S. and Spain since April 21, the day the U.S. began to blockade Cuba.  In the ensuing 10 weeks U.S. Naval and land forces thoroughly decimated the Spanish.

With resounding defeats in Cuba and the Philippines, Spain sued for peace.  Hostilities were halted on August 12, 1898, when a Protocol of Peace between the United States and Spain was signed in Washington.  The formal peace treaty was signed in Paris on December 10, 1898.  As a result of the war the United States gained all of Spain's colonies outside of Africa, including the Philippines, Guam and Puerto Rico, excepting Cuba, which became a U.S. protectorate.  These gains prompted John Hay, America's Ambassador in Britain, to refer to it as "the splendid little war," in a letter to his friend Theodore Roosevelt.  Theodore Roosevelt and George Dewey benefited greatly from their participation in the war.  Both men gained immediate fame as national heroes.  Roosevelt's fame ultimately propelled him to the White House. Years later it was determined the Battleship MAINE did not explode and sink due to hostile action, but as a result of its faulty boilers.

1.83  SHIP's PORTRAIT.   John Henry Mohrmann, oil on canvas painting of the elegant barque VICTORIA BAY heading to sea under full sail.  This detailed painting is signed lower left "H. Mohrmann 1891."  It depicts the lovely ship departing port with the headlands in the background on the right and numerous small sailing craft in the distance.  As the ship plows through choppy seas her realistic bow wake is shown below the female figurehead and gold trailboard decoration.  The ship's name is prominent on the port bow.  The vessel flies the owner's flag "HCG" from the main mast and the ship's name pennant from the aftermast.  The British ensign flies from the spanker aft.  Mohrmann was a proficient technician who concentrated on getting all aspects of his subject 'right.'  No less than 11 crewmen are shown on deck performing their duties.  All aspects of the deck and its fittings are meticulously depicted.  The realism of the sea with frolicking seagulls and the subtle sky are a testament to this 19th century marine artist's skill. 22 ½ inches by 34 inches sight. The ornate gilded frame with contrasty black and white elements measures 28 by 39 ½ inches.  The painting has been professionally relined on its original stretcher and is in excellent condition.  Ready to hang and enjoy in a most appreciative setting. Price Request 

John Henry Mohrmann was born in San Francisco in 1857.  At the tender age of 13 he began his life as a seaman and for the next 18 years traveled the world.  Under an Italian marine painting mentor (Luigi Roberto?)  he began his career as a ship painter in 1881.   After a very successful career as a marine painter he emigrated to Canada in 1913, where he died in 1917.  His works are well represented in a large number of prominent worldwide  museums including the Altonaer Museum, Altona Germany; Alands Sjofartsmueum, Mariehamn, Finland;  Bremen Focke-Museum, Bremen, Germany; Bartholomew Planas Collection, Majorca, Spain;  Bergen Sjofarts Museum, Bergen, Norway;  Cape Ann Historical Association, Gloucester, Massachusetts;  City of Liverpool Museum, Liverpool, England;  Mariners Museum, Newport News, Virginia;  National Maritime Museum, Greenwich, England;  Norsk Sjofartsmuseum, Oslo, Norway;   National Scheepvaartmuseum, Antwerp, Belgium;  Old Dartmouth Historical Society (New Bedford Whaling Museum), New Bedford, Massachusetts;   Peabody Museum, Peabody, Massachusetts;  San Francisco Public Library, San Francisco, California;  Sjofartsmuseet, Goteborg, Sweden, among others.  (Dorothy Brewington, "Dictionary of Marine Artists," 1982, Peabody Museum, Salem, Massachusetts.)

The iron-hulled barque VICTORIA BAY was built by Russel & Company of Glasgow, Scotland in 1885 to ply the passenger trade between Britain and Australia.

1.82  PAINTING EARLY AMERICAN WARSHIP.  Genuine third quarter 19th century watercolor portrait of the famous steam/sail U.S. Navy ship the "UNITED STATES CORVETTE TRENTON" by listed artist James G. Maxwell 1878" as signed lower left.  This detailed broadside rendering is surprisingly bright, colorful and crisp for a painting in this medium over 140 years old!  It depicts the large fighting ship at anchor off a mountainous coast in calm seas with sails furled.  At the peak she flies the Union Jack, while streaming the long commissioning pennant from the main and the American ensign from the spanker.  This post-Civil War era gunship displays at least 9 gunports along her port side. Close inspection reveals many charming details including standing and running rigging, numerous crewmen on deck, lifeboats, gunports, accommodation ladder, davits, and her prominent single stack, among others.  The scene is entitled by the artist along the bottom legend, "United States Corvette "Trenton," 13 Guns, 3400 tons, 3180 H.P. 253L, 49B, 20.D. Bt  1876."   Water color and gouache on heavy rag paper.  10 by 6 1/4 inches sight.  Unmounted.  Perfect original condition.  775

The first USS TRENTON was a wooden-hulled screw steam/sail frigate named for Trenton, New Jersey.
She was laid down by the New York Navy Yard in 1875, launched on January 1, 1876 and commissioned on February 14, 1877.  TRENTON was the first U.S. Naval vessel to use electric lights, installed in 1883.
TRENTON departed New York on March 8, 1877 for Villefranche, France .  On March 19 RADM John Worden was embarked and she became flagship of the European Station.  A week after reaching the Mediterranean, Russia declared war on Turkey.  TRENTON and the other ships of the squadron  protected U.S. citizens and other foreign nationals in Turkey and its possessions.

In July 1878 she departed the Mediterranean to visit Portugal, France, and England before returning to the Mediterranean.   After a visit to Marseilles June 7th, the flagship departed the Mediterranean for a third time cruising to English, Belgian, and Dutch ports.  Four of TRETNON's crew rescued fellow sailors from drowning during that period, earning them the Medal of Honor.  Subsequently TRENTON sailed for the U.S. arriving at Hampton Roads on October 12, 1881.   She was decommissioned at the New York Navy Yard on November 9, 1881.

Reactivated on September 18, 1883, TRENTON departed New York in November for duty on the Asiatic Station.  Steaming via the Mediterranean, the Suez Canal, Ceylon, and Singapore, she arrived at Hong Kong on May 1st 1884 to begin two years of cruising in the Far East.  She visited ports in China, Korea, and Japan, carrying out various diplomatic missions.  On several occasions, TRENTON sent landing parties ashore in China and Korea to protect American interests during those times of unrest in China.  Completing her duties in the spring of 1886, she departed Yokohama and retraced her voyage across the Indian Ocean, via the Suez Canal and Mediterranean, then across the Atlantic reaching Hampton Roads on September 2nd.  She entered the Norfolk Navy Yard on September 9, 1886 for repairs.

On January 30, 1888, Trenton sailed for the Pacific.  The voyage took her more than a year to complete,  steaming around Cape Horn.  After stops at Panama and Tahiti, TRENTON reached Apia, Samoa, on March 10, 1889.  Six days later a typhoon struck Apia severely impacting 13 U.S. Navy ships anchored there.
TRENTON lost steam power and its rudder, rendering it in danger of foundering on the reef.  A unique maneuver suggested by TRENTON's navigator is credited with saving the ship from total destruction.   On his advice, the Captain ordered every man into the port rigging.  As the wind blew, the thick mass of bodies acted like a sail, steering the ship away from the reef and into the bay.  Even so, the TRENTON collided with the SMS OLGA and then floated toward the sinking USS VANDALIA (See our item 14.32).  With her crew still in the rigging, TRENTON's approach was slowed, avoiding yet another collision.  VANDALIA's crew abandoned their ship to deck of the TRENTON.  However both ships later sank.

Out of 450 crewmen, TRENTON lost only one life.  She was declared a total loss, and her name was struck from the Naval Vessel Register on April 13, 1891.

19th century British painter, James Scott Maxwell's work covered a narrow subject range of warships and British scenery. His paintings carried signs of immense brilliance such as in "Villefranche 1888," a drawing of a fleet of ships.  Most of his paintings were small watercolors or the modest sketches of steamers, like "Clyde," "Duchess of York," and "Ben Lomond," all carried out in small, 7 by 9 inch formats or slightly larger.
 His repertoire concentrated on seascapes, pre-World War I British seagoing steamers and men-o-war.  The works embody a form of art known popularly as "British or Continental watercolors."  The type was more or less a technical 'photo realistic' drawing, aimed at factual representation, rather than artistic creativity.  Maxwell's drawings of American steamships, such as "St. Paul" and "Haverford" are such technical sketches, which are powerful attempts at photographic realism.

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

1.81  PAINTING EARLY AMERICAN WARSHIP.  Genuine late 19th century watercolor portrait of the famous steam/sail U.S. Navy ship the "UNITED STATES CRUISER CHICAGO" by listed artist James G. Maxwell 1894" as signed lower left.  This detailed broadside rendering is surprisingly bright, colorful and crisp for a painting in this medium over 125 years old!  It depicts the large fighting ship underway with sails furled, flying the embarked Vice Admiral's pennant from the fore, streaming the long commissioning pennant from the main and name pennants and American ensign from the aftermast.  This pre-dreadnaught battleship bristles with armament as she plies an azure sea, plowing ahead full, belching coal smoke and steam.  Close inspection reveals many charming details including standing and running rigging, numerous crewmen on deck, lifeboats, gunports, davits, deck guns and Union shields fore and aft, among others.  The scene is entitled on the bottom by the artist, "United States Cruiser "Chicago" 16 Guns. 4500 Tons. 5250 H.P. 325 L. 48 B. 19 D,  Bt Chester 18815 G.Q.D.L.  325 Men.  16 Knots."  Water color and gouache on heavy rag paper.  10 by 7 inches sight.  Unmounted.  Perfect original condition.  975

19th century British painter, James Scott Maxwell's work covered a narrow subject range of warships and British scenery. His paintings carried the signs of immense brilliance such as in "Villefranche 188," a drawing of a fleet of ships. Most of his paintings were small watercolors or the modest sketches of steamers, like "Clyde," "Duchess of York," and "Ben Lomond," all carried out in small, 7 by 9 inch frames or slightly larger.
  His repertoire concentrated on seascapes of pre-World War I British seagoing steamers and men-o-war. The works embody a form of art known popularly as "British or Continental watercolors." The type was more or less a technical 'photo realistic' drawing, aimed at factual representation, rather than artistic creativity. Maxwell's drawings of American steamships, such as "St. Paul" and "Haverford" are such technical sketches, which are powerful attempts at photographic realism.
  James Scott seems to have been prolific from 1875 into the early 1900s, when most of his dated sketches were produced. In addition, it seems that a majority of his works could be commissions from steamship companies or the ships' crew members themselves. Though more than 200 works are known to survive, there seems to be no variation of theme, indicating that he painted only seascapes and ships. His geographical reach was limited to port towns of the British Isles.
 

The first USS CHICAGO was a protected cruiser of the United States Navy, the largest of  three ships authorized by Congress for America's "New Navy" and one of the first steel ships in the U.S. Navy.  Launched on December 5, 1885 by Delaware River Iron Ship Building and Engine Works of Chester, Pennsylvania, commissioned April 17, 1889.  She had a displacement of 4,500 tons with an overall length of 342 feet 2 inches.  Her beam was 48 feet 3 inches and she had a draft of 19 feet.  With fourteen (!) 100 psi boilers running two compound overhead beam steam engines she produced 5,084 shaft horsepower turning twin screws to achieve a speed 16 mph.  She was bark-rigged in accordance with the plan of the "New Navy" to extend the range of newly built ships of the era, making her one of the very few in the history of the U.S. Navy to be powered by steam and sail during the very narrow window of history from the Civil War leading up to the Spanish-American War, a mere 33 years later!

In December 1889, CHICAGO departed Boston for Lisbon, Portugal to  serve in European and Mediterranean waters as the flagship of the Squadron of Evolution until May 1890, when she sailed back to New York in July.

Chicago operated along the east coasts of North and South America and in the Caribbean as flagship of the Squadron of Evolution—and later as flagship of the North Atlantic Squadron—until 1893.  After taking part in the International Naval Review in Hampton Roads in April, she left New York in June 1893 to cruise in European and Mediterranean waters as flagship of the European station.  During this period the ship was commanded by Alfred Thayer Mahan, already famous as a naval strategist.  CHICAGO returned to New York where she was placed out of commission.

Recommissioned on  December 1, 1898, CHICAGO made a short cruise in the Caribbean before sailing for the European Station in  April.  She returned to New York in September to participate in the Naval parade and Dewey celebration of October 2, 1899.  In November she sailed from New York for an extended cruise as flagship of the South Atlantic Station until early July 1901, then as flagship of the European Station.  With the squadron, she cruised in northern European, Mediterranean, and Caribbean waters until  August 1, 1903, when she proceeded to Oyster Bay, New York, and the Presidential Review of Theodore Roosevelt.

On January 1, 1905 CHICAGO relieved the armored cruiser NEW YORK as flagship of the Pacific Squadron.  For the ensuing three years she operated off the west coasts of North and South America, in the Caribbean, and to Hawaii.  In 1906 she played a key role in the evacuation of San Francisco residents during the 1906 San Francisco earthquake.  Arriving from San Diego at 6 P.M. on April 19, CHICAGO's radio allowed the city to communicate with the outside world because of downed telephone and telegraph lines. The removal of 20,000 refugees to Tiburon, Marin County was unparalleled until the historic evacuation of Dunkirk, France 34 years later.

From  January 1908 to April 1917 CHICAGO served as a training ship for the U.S. Naval Academy and the Massachusetts Naval Militia.  In late April 1917 CHICAGO reported to Submarine Force, Atlantic (COMSUBLANT) as flagship in New London, Connecticut, commanded by future Admiral Thomas C. Hart.  On July 10, 1919 she departed New York to join Cruiser Division 2 (CruDiv 2) as flagship of the Pacific.  She was reclassified CA-14 in 1920 and then CL-14 in 1921.  From December 1919 – September 1923, she served with SubDiv 14 and as tender at the Submarine Base, Pearl Harbor.

CHICAGO  was decommissioned at Pearl Harbor on September 30, 1923.  She foundered in the mid-Pacific on July 8, 1936 while being towed from Honolulu to San Francisco.

1.29  MINIATURE PORTRAIT ON IVORY.  Absolutely exquisite 18th century portrait miniature painting of a very lovely young woman dressed in her finery in a very suggestive portrait for its time.  This detailed rendering features a beautifully detailed oval portrait executed in the most detailed manner.  The subtle features of her face, hair and drapery are of the highest order adding to the realism of this form of lifelike portrayal of the elite, who could afford it, prior to the advent of photography in the 1830's.  The image is signed lower right "Server," possibly French.  It is housed under convex beveled glass in its ornate gilded oval frame measuring 2 ½ by 3 1/8 inches.  The top back is equipped with a small pivoting suspension ring for hanging.  A tremendous bargain!  Was $895 NOW! 295 

1.79  ANTIQUE AMERICAN PAINTING.  Original watercolor by well-listed American artist C. W. Hoffman depicting a calm, very pleasing coastal scene in New England.  It is signed lower left "Hoffman."  The colors are strong and the medium is in good condition, noting a couple of imperceptible tears on the periphery which have been addressed.   Very slight toning to the paper, expected of a painting in this medium over 160 years old!  It retains its original heavy gold mat under glass in its original simple gilt wood frame with beaded edge -- all in excellent original condition.   11 ¼ by 23 ¼ inches sight.  19 1/4 by 31 1/4 inches overall.  The back retains its original pine board backing typical of that era.  To preserve the adverse effects of such mounting, an impervious barrier has been professionally installed to strengthen the medium while retaining the overall originality.  Because it is large and under glass, there will be an additional packing charge at our cost to assure it is safely delivered to you.  The UPS Store would charge $200.  Was $995 NOW! 195 

C. W. Hoffman is a listed watercolorist active 1859.  (William Young, "A Dictionary of American Artists, Sculptors and Engravers," 1968, Arno Press, Inc.)

1.78  RARE DOCUMENTED RESCUE PAINTING.  Antonio Jacobsen, Danish-American (1850-1921), 1893, oil on canvas depicting the rescue of the crew of the Norwegian 3-masterd barque LADY LISCARD by the steam-sail ship MOHICAN.  This dynamic, action-packed oil on canvas rendering shows the two vessels in tumultuous storm-tossed seas.  The LADY LISCARD has been totally dismasted in the storm and its hapless crewmen anxiously await on deck their rescue by the MOHICAN's life boat approaching under oars through gigantic waves.  A really harrowing scene! One crewman is actually shown in the water, pulled to safety in a life ring.  Execution of this painting is of the highest order done by Jacobsen during his most productive and flourishing heyday 1880 - 1895.  The details here are notably better than almost all of his extensvie works.  The dramatic life or death subject matter is unique.  This painting measures 35 ½ by 21 ¾ inches sight and is mounted in a period ornate gilt frame with gold liner measuring 42 ½ by 28 ¾ inches.  Excellent cosmetic condition.  The painting has been professionally relined on its original stretcher.  Inspection under black light reveals numerous tiny touch-ups but no major restoration or repair.  Easily a $10,000 example of this most famous American marine artitist's output. Bargained priced.  5850

A label attached to the stretcher bar reads:
"From Lloyd's Registers                              P.130
Mohican – 2728 tons, 300.0 feet length, 41.1 feet br.,
19.0 feet depth.  Built 1892 by J.L. Thompson & Son, Sunderland.
Owners "Manhasset" S.S. Co. (Lim.) Registered Liverpool.
Lady Liscard – 1290 tons, 202.0 feet length, 38.0 br.,
23.6 feet depth, Built as a bark 1871 by Baldwin of Quebec.  Home port, Fredrikstad,
Norway.  Unlisted in Lloyd's 1894
ie. lost 1893"

This very painting is listed on pages 204 and 205 of Harold Sniffen's monumental work "Antonio Jacobsen The Checklist," 1984 by the Smith Gallery, New York.  The entry reads, "18. MOHICAN, Scw, Flag Br, Date 1892-1894, Builder Thompson & Sons, Sunderland, Owner T. Hogan & Sons, Homeport Liverpool, Dimensions 300.0 x 41.1x 19.0, 2778 tons, Medium Oil on Canvas Starboard, 22 x 33 inches, Owner Private Collection New York, Shows rescuing the crew from Lady LISCARD."

1.77  SHIP’s PORTRAIT.  Solon Francis Montecello Badger, American (1873-1919), oil on canvas, the 3-masted schooner Isabel B. Wiley sailing past Portland Head light, Cape Elizabeth, Maine.  Signed and dated lower left “S.F.M. BADGER 12,” and inverso boldly signed “S.F.M. Badger Charleston Mass. 1912.”  This classic broadside ship’s portrait depicts the lovely vessel on her port beam under full sail heading south backed by rocky headlands and a lighthouse in the distance.  Five crewmen are depicted on deck, including the helmsman and the Captain on the poop pointing the way.  The ship is clearly identified in three places:  on the port bow, the port quarter, and on the huge name pennant flown from the spanker mast.  She flies the house flag of Drake & Son (a “D” within a white star) from the mainmast, and the Union Jack from the foremast.  The American ensign flies from the spanker boom.  The detail that Badger lavished on this painting is simply astounding!  It literally bears scrutiny under magnification.  The crispness of lines in close proximity defies description.  Seeing is believing.  Deck detail, rigging and sails are all depicted in what quite frankly could be described as “unrealistic detail.”  22 by 36 inches sight mounted on its original stretcher.  Housed in a period fancy gessoed from marked “Made In U.S.A.” measuring 26 ¼ by 40 ¼ inches overall. This painting is in absolutely untouched original condition front and back.  Close inspection under UV light shows no inpainting, no losses and no damage.  In short this painting is in the same condition left Mr. Badger’s easel 108 years ago!  A more pristine original example is not to be found. Price Request

The Isabel B. Wiley was a wooden hulled 3-masted schooner built by the New England Shipbuilding Company, Bath, Maine in 1906.  She was 160 feet long and displaced 779 tons, under the ownership of J.B. Drake & Son, Bath, Maine.  Ownership was transferred to the Atlas Shipping Company of Philadelphia in the teens. 
In the early morning of June 2, 1918 while sailing off of Barnegat, New Jersey en route from Perth Amboy to Hampton Roads, Virginia a German U-Boat was spotted off her stern.  The hostile submarine fired one shot at the unarmed vessel with its deck gun.  With no hope of outrunning the submarine Wiley's Captain Thomason ordered his crew to abandon ship in the life boats.  Once he and his crew were evacuated the Germans boarded Wiley and set charges which quickly sent her to the bottom.  On what was to become known as “Black Sunday” Wiley was the first of 5 ships sunk that day by German submarine U-151 under the command of Heinrich von Nostitz.  The Wiley's crew was taken aboard the U-Boat, joining the captive crews of the Hauppauge, Edna and Hattie Dunn, where they spent the next 8 days as prisoners. The Americans were finally set adrift in a lifeboat from the previously sunken vessel Winneconne and were given sufficient food and water for three days.

The Isabel B. Wiley now lies in 225 feet of water 58 miles off the coast of Barnegat Inlet, New Jersey and is a recognized deepwater dive site.

1.74 HISTORIC PAINTING. Rare, original oil on canvas depictiion of the entrance to San Diego Bay in the late 1800’s by listed artist H. Slade as signed lower right, “A. H. Slade 1894.” This handsome composition was painted from real life on the easel of the artist on the shores of Coronado Island near the famous, newly built, Hotel Del Coronado which opened just 6 years earlier! It depicts the busy channel traffic in and out of San Diego Bay. The array of vessels, under sail and steam powered, document that brief period, unqiue in maritime history, when both modes of ocean traffic coexisteded. The artist has effectively captured the serenity of the rolling waves curling onto the sands with the characteristic California kelp washed up on the beach – a sight readily observed by any San Diegan beachgoer to this day! Charmingly, the landmark Point Loma Lighthouse (sometime referred to as the “Old Spanish Light”) is depicted atop the iconic Point Loma peninsula. It bears the distinction of being California’s first lighthouse, erected in 1855. It was already an old sea veteran when this panorama was made! This painting measures an impressive18 by 36 inches sight and is housed in a lovely period ornate gilt frame measuring 24 by 42 inches. It has been professionally cleaned and relined with minimal inpainting. It presents very well with bright colors and sharp detail. Included is a later engraved brass identification plaque not attached to the frame. 15,000  

Albert Horatio Slade (1843-1922) was born in England and immigated to Torono, Canada where he began a photography and art studio in 1876. With his reputation established as a recognized portraitist, he moved to San Diego in 1887. "The few examples of his extant work are from the brush of a hihly competent painter. His watercolors and oils are executed in a realistic style similar to that of the Hudson River School painters." (Edan Hughes, "Artists of California 1786-1940"). Exisiting examples of Slade's works are rare.

1.73 EARLY 18th CENTURY ETCHING. Original, beautifully hand-colored etching by Francois Halma, dating circa 1706. It features a golden medallion depicting the Emperor Constantine flanked by two admiring puti. On either side are a woman in Roman dress and a helmeted warier with plumage and a spear. They are on either side of a grand battle scene entitled “IN HOC SIGNOVINCES.” Below are some thick bound volumes and a cartouche of a morbid figure. This images no doubt have some symbolic significance. At the lower left is the faint image appearing to be a conjoined “ID.” This etching is on early rag paper and bears the telltale plate mark on its edges. It measures 3 ½ x 5 inches sight. On the back is the certificate of authentication by ANTIUQUARIA SANT ANGELO of Rome, Italy. Condition is excellent. The colors are vibrant and the paper is perfect. Mounted is a simple acid free black mat measuring 7 ½ by 7 ½ inches. An amazing image over 300 years old! 99

1.69  SHIP’s PORTRAIT.   A very handsome and colorful portrait of the steam screw freighter “S.S. TRIPP” steaming in Naples Harbor as smoke wafts from the iconic Mount Vesuvius in the background.  With artistic aplomb, sailboats are depicted off its bow.  This well-executed painting exhibits wonderful deck details as well as depicting crewmen at various work stations on deck and on the bridge.   It is identified in 3 places:   the nameboard on the pilot house, on the bow and lower center “S.S. TRIPP.”   This watercolor on artist’s paper is expertly done and is in unusually fine, bright condition for its age.  It measures 18 1/2 by 27 inches sight and is housed in its original simple wooden frame with gilded boarder and acid free mat.  Shipping with glass is optional, but not recommended.  23 by 31 ½ inches.   949 

S.S. TRIPP was launched by the Northwest Steel Company of Portland, Oregon on September 30, 1919 for service in the United States Shipping Board during the waning days of the First World War.  She had a call sign of LRPQ, as shown on her flaghoist.  The ship was 409.8 feet in length,  a breadth of 54.2 feet and a depth of 27.7 feet, displacing 5,703 gross tons (3,513 net).  Her crew of 44 was operated for the U.S.S.B. by Lykes Brothers Steamship Corporation of San Francisco.   Her homeport was Galveston, Texas.

In this early portrait the ship is shown flying the distinctive U.S. Shipping Board flag from her after mast.  The United States Shipping Board (USSB) was established in September 1916 and implemented in January 1917 as the Great War in Europe summoned American involvement.  No doubt the new spic and  span ship was on her maiden voyage to Europe when this portrait was painted in Naples, Italy in late 1919 -- nearly 100 years ago.

Interestingly, in her later life TRIPP was transferred to the French government and renamed  ILE DE NOIRMOUTIER thence controlled by the Nazis.  On November 8, 1942 she was liberated by Allied forces in Casablanca and ultimately returned to France after VE Day in 1945. 

1.14 PAINTING. Important, large and impressive marine painting by the famed ship artist Antonio Nicolo Gasparo Jacobsen (Danish-American, 1850-1921). This spectacular oil on canvas painting depicts the graceful steam/auxilliary sail passenger ship APACHE underway at sea. In a portside ship's portrait Jacobsen has captured the essence of this well known vessel in a fresh breeze with sails furled and name pennant, house flag and American ensign flying. As the ship plies choppy deep green seas, puffy cumulus clouds punctuate the azure sky while wisps of smoke and steam spill from the large solitary smoke stack. This especially pleasing rendering is boldly signed lower right "Antonio Jacobsen/Palisade Av. Division St./West Hoboken, NJ" and dates to 1904. It is housed in a simple wooden frame with gold liner measuring 35 by 55 inches. The painting itself measures 30 by 50 inches sight and is on its original wooden stretcher. It has just been professionally cleaned and relined. There is very little inpainting in evidence under ultraviolet light. What little there is consists of a few small areas in the sky only. There is no retouching to the vessel itself. Excellent, ready to display condition. Price Request 

The much heralded steam/sail passenger ship APACHE was launched by William Cramp & Son Shipbuilders, Philadelphia, PA in 1901. She was successfully operated by the Clyde Steamship Company out of her home port of New York during a profitable career which spanned 27 years.

Literature:

Harold Sniffen, "ANTONIO JACOBSEN The Chesklist," 1984, The Mariner's Museum, Newport News, VA, pages 32-33, item number 31. Dated 1904.
Harold Sniffen, "Painted Ships on Painted Oceans," The Mariner's Museum, Newport News, Virginia, 1994, full page color photograph page 133.

1.68   PAINTING.   Genuine, highly sought after, mid-19th century oil on canvas port painting of the American clippership R. B. FULLER making its approaches to Hong Kong.  This classic China Trade ship’s portrait shows a starboard broadside view of the true clipper under full sail with only the   mizzen furled as she sails into port.  A number of crewmen are depicted on deck ready to take in sail on the captain’s orders.  The ship prominently flies the name pennant “R. B. FULLER” from the main mast and the American ensign from the spanker boom aft.  Deck details are clearly visible as are the gold trailboard along the bow and the ship’s nameboard.  In the background loom the famous hills of Hong Kong Harbor lined with quaint buildings, while the harbor is full of busy sailing vessels including the old hulk of a prison ship.  Just astern of the FULLER is a nicely rendered Chinese junk.  This predominantly deep blue painting is accentuated by the contrasty white sails of the clippership, making for a most dramatic presentation.  The pristine canvas is NOT relined and is mounted on its original old wooden stretcher.  It measures 17 ½ by 21 ½ inches sight and is housed in its very handsome antique gilt gessoed frame measuring 24 by 32 inches.  The painting is in remarkably untouched original condition.  Ready to hang.  Guaranteed to be of the period and at least 150 years old!  Museum quality.  Price Request 

1.66  SHIP’s PORTRAIT.   Solon Francis Montecello Badger, American, 19th century, oil on canvas paining of the American 4-masted schooner “ESTELLE PHINNEY” as prominently noted on the quarterboard, name pennant and stern quarter board.   It is signed, lower left, “S.F.M. Badger 98.” This comprehensive work depicts the lovely vessel under full sail at sea with the coast and a prominent lighthouse in the background.  Nine men are shown at various work stations on deck.  Execution is extremely fine, including the foc'sle capstan, foredeck house with Charlie Nobel, 2 mid-deck hatches, midships deck house, after cargo hatch, aft deck house with skylights, helm, steering gear box and the ship’s lifeboat suspended on davits over the stern.   She flies the Union Jack from the foremast, the ship’s flag “EP” from the mizzen, the ship’s name pennant from the main and the American ensign from the aftermast.  On the poop deck the Captain can be seen pointing forward with helmsman at the wheel.  It is obvious from the minute details depicted in this work  the artist painted “from life” rather than from sketches or a photograph.   Much more detail than the typical Jacobsen!  The painting is clean and bright.  The colors are rich and all lines are crisp including scores of subtle reefing lines on the sails.  It measures 24 by 40 inches sight and is housed in a magnificent period gilted gesso wooden frame 34 ½ by 48 ½ inches. SOLD

Solon Francis Montecello Badger was born in Boston in 1873 and grew up in neighboring Charleston, Massachusetts.   As a teenager he lodged with and was apprenticed to the well known Maine ship portrait painter William P. Stubbs.  In his early 20’s Badger took up ship painting, sailing around Boston Harbor in a small craft seeking commissions for his art from ship owners in that busy port.  As a result, his works reflect meticulous attention to detail required of him to “get it right” for his demanding sea borne clientele.  To these ends, sometimes he even worked from blueprints!  Badger died at the relatively young age of 46.  As his artwork gained notoriety after his death, he was known by the misnomer "Samuel Finley Morse Badger."  The unknown reason for this name discrepancy was only corrected a few years ago.  Museums exhibiting his work include the Maine Maritime Museum, Peabody Essex Museum, Mystic Seaport Museum and the Mariners’ Museum.
The date on this work, “98,” indicates Badger was only 25 years of age in 1898 when he completed this painting.
The 4-masted schooner ESTELLE PHINNEY  with call sign K.J.S.M.,  was a wooden hulled ship 189 feet in length displacing 923 tons.  She was built in New London, Connecticut in 1891 and homeported in New Haven.  (“List of Merchant Vessels of the United State 1899.”)  Shown here, she is sailing south off the coast of Scituate, Massachusetts with the famous Minot’s Ledge lighthouse in the background.