The Navy |

Paintings

23 items
The ship City of Delhi in The China Seas, painted by a Chinese artist and within a carved, lacquered and parcel gilt Chinese Chippendale frame. Chinese circa 1860. Built in 1857 for George Smith & Sons' City Line. They commenced ship owning in 1840 and traded to India with sailing vessels. By 1852 voyages were being made to Valparaiso and the West Indies, Australia and New Zealand and later between India, New York and the UK. The City of Delhi was wrecked off Dungeness 1867.

City of Delhi

show details 		A naive picture of the ship Northfleet flying the house flag for Devitt and Moore. Painted oil on canvas and within a period painted frame. English circa 1860. The Northfleet was a Blackwall Frigate of 951 tons gross. She was built at Northfleet in 1853 for London shipowner Duncan Dunbar and spent much of her career trading between England and Australia and between England, India and China. On 13 January 1873 she left Gravesend for Hobart with 379 persons on board including the pilot, 34 crew, three cabin passengers and the assisted emigrants comprising 248 men, 42 women and 52 children. Bad weather forced the ship to drop anchor at several points before leaving the Channel and on the night of 22 January she was at anchor off Dungeness. At around 10.30 p.m. she was run down by a steamer that backed off and disappeared into the darkness. The heavily-laden Northfleet sank within half an hour and in the ensuing panic a total of 293 people were drowned.

Northfleet

show details 		Sloops and Covettes frequently served as dispatchers among ships of a battle fleet, corvettes also escorted merchantmen and showed a nation's flag in distant parts of the world. This vessel was probably engaged in protecting British merchantmen going to and from Hong Kong. Chinese early 19th century. Painted oil on linen and in a carved, lacquered and gilded Chinese frame.

A Sloop or Corvette

show details 		Painted oil on canvas, signed and dated Antwerp 1892, in a period burr wood frame. The William Ashburner was a three-masted schooner, the largest wooden sailing vessel built at Barrow-in-Furness, and the only schooner built by the Ashburner shipyard that traded across the Atlantic or south of the Equator. In her first nineteen years, mainly under the command of Capt. Robert Charnley and Capt. Evans, she voyaged frequently to Uruguay for beef and bonemeal, to the West Indies for sugar, to New York and in the Mediterranean. She later went into the coasting trade and had a long working life that lasted until 1950. The William Ashburner was considered to be a fast ship, it being claimed that she once covered 240 miles in 24 hours with a full cargo of coal. Henry Loos: worked and lived in Antwerp, Belgium.The younger son of John F. and brother of John, he produced a number of portraits of sailing vessels in a very smooth style and paid attention to all of the ship's technical details. Quite often the vessel is depicted in sunny weather with the Belgian or Channel Coast in the background.

The William Ashburner

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An early 19th century watercolour of an officer of the British Navy, signed and dated 1835. Albin Robert Burt (1784-1842) started his career as an engraver under Robert Thew and Benjamin Smith. He later turned to portraiture, exhibiting at the royal Academy in 1830. In a period gilt gesso frame.

Naval Officer

show details 		A naive oil painting, painted on canvas, now relined, cleaned and conserved, and framed in the original folk carved teak frame. It is safe to assume that this picture was painted by one of the vessel's officers or crew sometime during the latter part of the 19th Century.

The Margaret Falconer

show details 		This artist worked at the Weytz studio where this technique was their specialisation. He later came to England and would appear to have settled in Dover and carried on this work under his own name.

Happen'd at Ostend

show details 		Oil painting on canvas by the Italian artist, Luigi P.Renault, inscribed “St.Devenick Of Aberdeen, James Jeffrey Commander Entering Leghorn 1865”. Contained within a period walnut frame.

The St Devenick

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Blairgowrie passing Dover on her maiden voyage to Lyttleton, New Zealand arriving 22nd. August 1875. Owned by Thomson and Gray, and commanded by captain Darke, she was built by Thomsons of Glasgow and registered at 1550 tons. Signed and dated Tudgay 1875.

Blairgowrie

show details 		A mid 19th century watercolour of the schooner

Schooner Cassandra

show details 		The racing cutter Arrow being challenged, probably in the solent. Attributed to H. L. Iddes. Oil on canvas, circa 1890, in a period gilded oak and gesso frame.

Racing Yachts

show details 		The ship

Tea Clipper "North"

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The Evelyn Wood in Chinese waters near Hong Kong, painted oil on canvas c.1865. Period Chinese carved and gilded frame. The Evelyn Wood, named in honour of the famous Indian Mutiny Victoria Cross hero, later Field Marshall Sir Henry Evelyn Wood, was built at Sunderland in 1863, for Ritson & Co., and sailed regularly between Liverpool and the Dutch East Indies.

The Evelyn Wood

show details 		Albert Edward, Prince of Wales (1841-1910) commissioned by Queen Victoria from Albert's favorite artist, Franz Xaver Winterhalter. The original was painted oil on canvas. This copy is in watercolour by Winterhalter's contemporary W.Warman. He has one work in the National Portrait Gallery,

Albert Edward, Prince of Wales

show details 		A fine, late 18th century Chinese reverse painted glass picture of an elegant lady with her parrot. Ch'ien-Lung period, in the original Chinese copy of an English giltwood frame.

Lady with Parrot

show details 		A portrait of Nelson's misteress, Emma Hamilton. Reverse painted on glass and contained within the original carved, lacquered and gilded frame. After the original painting

Emma

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The Royal Yacht 'Fairy' in a busy waterway, the Royal Standard flying from the main mast indicating that the Queen is actually on board, perhaps returning to Portsmouth from Osborne House. Furthermore, the flag flying at the foremast is that of the Lord High Admiral and indicates that he too is on board. Oil on canvas and within a modern walnut veneered frame The first tender to the ‘Victoria and Albert', the iron screw yacht ‘Fairy’ was built at Blackwall by Ditchburn and Mare in 1844. It was launched and commissioned in 1845 and measured 146 feet in length by 21 feet in the beam with a tonnage of 312 burden. The ‘Fairy’ accompanied the ‘Victoria and Albert’ yacht on voyage and her first duty was to attend the Royal Yacht in Antwerp and take the Queen and Prince Albert on board for their cruise in the shallow waters of the Scheldt. It also sailed many times to Scotland during the summer months as well as conveying members of the Royal Family to and from Osborne House on the Isle of Wight. She was replaced by the ‘Alberta’ in 1863 and finally broken up in 1868.

The Royal Yacht 'Fairy'

show details 		A late 18th century pen, black ink and grey wash copy of an 18th century print; a bizarrely successful trompe loel that allows the viewer to believe they are looking at a print as opposed to a watercolour. Drawn by William Woodland, 1830, and within a fine, gilt gesso frame.

Old Harry

show details 		S.S. Glenogle, built for the Glen LIne in 1882-1904 sold to Seang, Taik & Co, Rangoon. In 1867 Alan C. Gow took delivery of a sailing ship which he used on the Glasgow / Liverpool - Cape Horn - Chile trade. The following year he purchased a second vessel and started the practise of naming his ships GLEN______. The opening of the Suez Canal was a large factor in the decision to operate steamships in the China tea trade and the company started this operation in 1870 and moved their home port to London. James McGregor was put in charge of the company's steamship activities and by 1880 had become the senior partner and the company became McGregor, Gow & Company. South America sailings ceased the same year and the company concentrated on the India and Far East routes.

S.S. Glenogle

show details 		A nineteenth century gouache of the merchant brig

Brig "Sisters"

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H.M.S.Bulldog

show details 		Early 19th century tavern painting depicting the Whitby whaler 'Lively' off of the Whitby coast. Signed I. Boanson, painted oil on panel and within the original integral

The Lively

show details 		A set of six China Trade watercolours on pith paper, circa 1850, later mounted and in hand made and painted frames.

Chinese Flowers

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