An exhibition of rare paintings, the first of its kind, is being held in San Francisco this summer at the San Francisco Maritime National Historic Park in cooperation with Paul and Linda Kahn Foundation. It’s of the paintings of the major West coast marine artist in the late 19th –early 20th centuries, William A. Coulter (1849-1936), who documented the maritime life and commerce of San Francisco Bay for over 60 years. The exhibi-tion is being held during the 100th anniversary of the Great San Francisco Earthquake of 1906, which Coulter literally painted on a 5ft .x 10ft. window shade which he had found still smoldering in the ruins. This fascinating and historic retrospec-tive exhibition is being curated by well-known maritime curator Marcus de Cheverieux, and is accompanied by a handsome exhibition catalogue. (See our exhibition and book pages for more information.)

If you’re traveling to the Far East this summer you can visit a year around permanent exhibition of the paintings of Keith Reynolds at the Reynolds Art Museum at the Shin Nishinomiya Yacht Harbor in Japan. Keith reports that he just came back from an exhibition there and in Osaka at the Tempozan Gallery where he had a show consist-ing of 10 large paintings, 32 miniature paintings, 17 pen and inks, 17 limited edition silk screens and assorted cards and a book published last year on his work in Japan. According to the accompanying price list, referred to as the “Price Menu,” prices range from the $3,000 -$4,000 for a silk screen, $2,100-$2,700 for a pen and ink, $5,000 – $8,600 for a miniature painting, and then $22 – $40,000 for a large painting. Keith reports that it was an extremely successful visit, with great sales of his work, which only reinforces the notion that the language of art is an international language which knows no country borders.

This fall, also on the West coast from October 5 – March 31, 2007 the Ventura County Maritime Museum will feature the West coast version of the exhibition held at the Independence Seaport Museum last year in Philadelphia, the first ever retrospective of the paintings of Thomas M. Hoyne (1926-1989) entitled “North Atlantic Seas, Schooners and Fishermen, Thomas Hoyne’s Paintings of the Grand Banks.” What a great oppor-tunity for enthusiasts on the West coast to see the work of this marine artist who continues to inspire marine artists today. Tom’s paintings are being borrowed back from collectors and museums espe-cially for this occasion. The plan is that they will then travel to an exhibition at the Mystic Seaport Museum in Mystic, Connecticut, in 2007, dates to be determined. A long overdue book on Tom’s work was written by Reese Palley and published last year in conjunction with the Philadelphia exhibi-tion. It’s entitled Wooden Ships and Iron Men: The Maritime Art of Thomas Hoyne published by Quantuck Lane and available for $59.95. See our book page for details. It’s well worth adding to your library. For more information on the Ventura County Museum contact them at vcmmarts@aol.com or 805-984-6260.

This spring the Ventura County Museum also held a ship model exposition with demonstrations and exhibitions through the month of May. It’s one of the great small maritime museums in the country. Their permanent exhibitions of ship models only, not to mention paintings, now number more than 80 models, including the largest museum display of

18th century bone prisoner of war models and the life’s work and recreated modeling studio of southern California master modeler Ed Marple.

July 27 marked the ribbon cutting for the newest marine museum, the Minnesota Marine Art Museum, set on six acres on the banks of the Mississippi River in Winona, Minnesota. At a time when most museums are converted ware-houses or commercial buildings, it is extremely rare for a museum to be designed and built specifi-cally for that purpose from the ground up. But that is what the folks in Winona after two years of plan-ning and construction have done, creating a ter-rific facility in a turn-of-the-century architectural theme to house a great collection, consisting of the Burrichter-Kierlin Collection of oil paintings depicting the era of conversion from sail to steam by leading marine artists, including John Stobart, James Buttersworth, Tim Thompson, Thomas Hoyne, Don Demers, Jack Gray, James Flood among others. The museum has even commis-sioned special paintings for its collection. One by William Muller depicts the steamship Minnesota of the Great Northern Steamship Co., which plied its trade from Seattle to the Far East in 1908; and another by the British painter Louis Dodd—a magnificent painting of the SS Frigate Minnesota which played a pivotal role in the battle of the Monitor vs. Merrimack a.k.a. Battle of Hampton Roads March 9, 1862. The museum will also house the Leo and Marilyn Smith Folk Art Collection of nearly 400 works; the incredible photographs of the civil engineer Henry Bosse who documented maritime life and construction along the upper Mississippi during the early part of the century; and an actual Mississippi River dredge the William A. Thompson, scheduled to arrive at the museum as a floating exhibit in 2007. The museum is serious about its staff too. They’ve hired Jonathan David Swanson as Curator of Collections and Exhibits. He holds two Masters Degrees, one from Texas A&M in Nautical Archeology and one in Art History from the Courthold Institute of the University of London. Ryan Nunting is the new Curator of Education and Interpretation. He has his own Masters Degree in History with an emphasis on Museum Studies. What an exciting and commit-ted venture, and a great addition to the national family of maritime museums. They deserve all of our congratulations and support. So if you’re in the Minneapolis area this summer during their grand opening on August 20, or this fall, winter or spring, I suggest a visit to the Minnesota Marine Art Museum. More information can be found by contacting them at Minnesotamarineartmuseum.org. All I can say is, they really know how to do it in Minnesota!

Bob Kierlin reports that while the museum is being constructed they have some of the collection on display at the Signatures Restaurant in Winona. Currently, Tim Thompson’s large painting of schoo-ner yacht America greets you as you walk in. So sailors will feel right at home there. Bob reports that people have been marveling at it. In fact, he said he had a visit from Minneapolis business owner Marcus Gernes recently who said he got up twice from his dinner to go back and look at the painting. He “couldn’t believe how beautiful it is.”

Galveston, Texas was the site of its own marine art excitement this winter as the Texas Seaport Museum, under the leadership of Kurt Voss, kicked off its new capital campaign to build a

new museum facility to replace the current one, which sits on Pier 21 in Galveston adjacent to the tall ship Elissa. The Second Annual Galveston International Festival of Marine Art was a great black tie event and art exhibition, spearheaded by museum patrons Bill and Pat Broussard and the Galveston Historic Foundation, which over-seas the museum and many historic properties in Galveston, and is run by Director Marsh Davis. On display were paintings of historic Galveston, borrowed from various collections by Julius Stockfleth, Robert Moak, Boyer Gonzales, Paul Schumann, and new paintings from the J. Bangle Gallery by Galveston artist-in-residence, Englishman Tony Blackman who was drawn to the rich maritime history and current vessels which ply the busy ship channel to Galveston Harbor. The Marine Arts Gallery of Salem, Massachusetts displayed paintings by Roy Cross, Len Pearce, William Stubbs and Richard Loud who was on hand for the events, and the J. Russell Jinishian Gallery in Fairfield, Connecticut exhibited works by Christopher Blossom, Don Demers, John Stobart, Stanley Meltzoff, Jim Flood and others. Ed Parker created a view of the Elissa and historic buildings of Galveston especially for the event, which was reproduced as a limited edition fundraising print. The museum has actually hired a national fundraising firm, Chuck Bentz Inc. to help reach its ambitious goal of $9 million. With a rich maritime and social history of the seaport in Galveston, I’m sure they’ll be successful. For those looking for more information or way to support the only regional maritime museum in that area you can contact them at galvestonhistory.org.

On Martha’s Vineyard, The Edgartown Art Gallery published two scenes of Martha’s Vineyard by Ray Ellis. They both measure 12”x24” and are priced at $650 each. They are designed to be dis-played as a pair. They can be contacted by calling 508-627-6060.

If you’re a fan of John Barber’s limited edition prints, and just want to update your value list, or even see their new index which lists prints by boat names, you can try calling Carol at 800-410-0727, or Johnbarbereditions@mac.com. As many may remember, John officially retired from the limited edition print business a year ago to concentrate his efforts on painting. But you can’t keep a good man down. So don’t be surprised if you see new prints using the new giclée computer technique of some of John’s paintings. Already four giclée prints are available; “Downwind Run,” “Journey’s End,” “Approaching the Mark” and “Spinnakers” in two flavors: one in an edition of 125 print only, the sec-ond, the master edition of 50-75 where John has “hand painted additional details with his palette knife directly on to the canvas.”

When John was focusing on his print business he used to gather up his original paintings and save them for a one night black tie sale in one of Richmond, Virginia’s historic buildings—usu-ally once every two or three years. The much anticipated event was the hit of the social season. Since he’s “retired,” and been painting mostly for himself, we haven’t seen any new paintings on the market. He’s just now told us that he’s begun to offer a small selection of small paintings for the first time since 2002. They range in subjects from the “Playa Hermosa in Costa Rica”, 8”x12” which sells for $3,000, to a Richmond street scene “Along the Avenue” which measures 14”x26”

18

Continued from page 17

Continued on page 24

Rainbow Trout 6" x 18", fish size $5,500

Canary Rockfish 7" x 14", fish size $3,500

Meet the artist and author

and view the original paintings on

Saturday September 30, 3-6pm.

FISH: 77 Great Fish of North AmericaPaintings by FLICK FORD • Text by DEAN TRAVIS CLARKE • Introduction by PETER KAMINSKY

Over 85 color paintings, 208 pages, 14" x 11". Hardcover, jacketed, $50

To order call: 800-243-4260

Dorado 16"x 34", fish size $8,500

Sockeye Salmon 9" x 22", fish size $6,500

A preview of the book and photographs of

all the original paintings are available at www.jrusselljinishiangallery.com

THE GREENWICH WORKSHOP GALLERY & THE J. RUSSELL JINISHIAN GALLERY

1657 POST ROAD. FAIRFIELD, CT 06824

Featuring seventy-seven never before published watercolors of the great fish of North America by one of the nation’s premier fish painters, with accompanying text by a well-known sportfisherman and fishing writer. Praise for this book has already been pouring in.

Every once in awhile someone comes along who is truly outstanding in his field. His watercolor documentation of

the fish species in this book is unsurpassed.—ARTHUR SHILSTONE

This book will be a treasure…to be enjoyed for many years.—EDDIE SMITH, Co-owner, Grady White Boats, Inc.

All paintings available for prior sale. For more information call 203-259-8753

20 2120 21

Americans in Paris, 1860-1900Kathleen Adler, et al. Paperbound $12.95National Gallery Company288 pp ISBN: 1-857093011To order: yalepress.yale.eduExhibition catalog traces the importance and influ-ence of Paris on the American artist in the late 19th century and the ultimate rise of a uniquely American style. Works by Winslow Homer, James McNeil Whistler, Mary Cassatt, John Singer Sargent and others are beautifully reproduced.

America’s Art: Masterpieces from the Smithsonian American Art MuseumTheresa J. Slowik Hardcover $65Abrams324 pp ISBN: 0-8109-5532-6To order: 800-759-0190A catalog of more than 200 color reproductions of paintings, sculptures, photography and folk art, spanning the nation’s history, celebrates the reopening on July 4 of the Smithsonian American Art Museum after a complete renovation.

Andrew Wyeth: Memory and MagicAnne Classon Knutson, et al.Introduction by John WilmerdingPhiladelphia Museum of Art Hardcover $49.95 Softbound $35To order: 800-329-4856 / philamuseum.comExhibition catalog explores the significances of the objects in Wyeth’s work, his mediums and tech-niques, and examines his body of work within the context of American Art and in the larger realm of Realism and Surrealism. (See our exhibition page)

Art of the Sea Calendar 2007 $12.95To Order: 888-461-4619 / rjinishian@optonline.netWith proceeds benefiting the National Maritime Historical Society. Containing twelve paintings by leading artists A.D. Blake, Christopher Blossom, Steve Cryan, Don Demers, Louis Dodd, Paul Garnett, Jim Griffiths, John Mecray, Mark Myers, Keith Reynolds, John Stobart and Tim Thompson.

A Berth to Bermuda100 Years of the World’s Classic Ocean RaceJohn Rousmaniere Hardcover $50Mystic Seaport and Cruising Club of America208 pp ISBN: 0-939511-17-7To order: 800-331-2665 / mysticseaport.orgThe inside stories - year by year - of the yachtsmen and yachts of the 635 mile thrash to the Onion Patch told through fascinating text and historic photographs.

Contemporary ScrimshawEva Halat Hardcover $76Verlag Angelika Hoernig240 pp ISBN: 3-9808743-8-9To order: artisanideas.comWorld renowned scrimshander Eva Halat discusses the history of the art form, the process, techniques and tools, and introduces us to the work of 42 out-standing scrimshanders from Europe and America, including Andrey Dolenko, Howard Rosenfeld, David Smith and Robert Weiss, in this beautifully illustrated English edition.

Don’t Come Back Until You Find ItBruce Newman Hardcover $24.95Beaufort Books288 pp ISBN: 0825305365To order: Amazon.comAn insider’s story chronicling Bruce Newman’s 50-year career in the decorative art and antiques business.

The Fully Framed Model, HMS Swan Class Sloops 1767-1780, Vol. IDavid Antsherl Hardcover $65PierBooks/Dupont Communications300 pp Size: 8 ½” x 10 7/8”To order: pierdupont.comScale drawings, diagrams and photographs richly illustrate this instructional book on building frames like the original ships. Vol. II will cover the decks, armament, fittings and carvings of ships of the Royal Navy Swan Class of 1760-1783.

Glass Plates & Wooden Boats:The Yachting Photography of Willard B. Jackson at Marblehead, 1898-1937Matthew P. Murphy Hardcover $50Commonwealth Editions192 pp ISBN: 1-889833-72-XTo order: commonwealtheditions.com75 images, selected from the MIT and Peabody Essex Museum collections, elegantly depict the sig-nificant yachts, military vessels, and working boats that made their way in and out of Marblehead in the late 19th and early 20th centuries. Each image is accompanied by a descriptive text by the editor of WoodenBoat magazine.

Historic Ship Models,The Musée de la Marine CollectionJean Boudriot Hardcover $95Pier/Dupont and ANCRE254 ppTo order: pierdupont.comHandsomely illustrated volume highlighting the best elements of French naval architecture.

Hudson’s Merchants and WhalersMargaret B. Schram Softbound $24.95Black Dome Press224 pp ISBN: 1883789397To order: Amazon.comThoroughly investigates the maritime history, architectural heritage, and local seafaring accounts of the Quaker emigrants who settled Hudson, NY from 1785 to 1850.

In a Class by Herself:The Yawl Bolero andthe Passion for CraftsmanshipJohn Rousmaniere Hardcover $50Mystic Seaport168 pp ISBN: 0-030511-13-14To order: 800-331-2665 / mysticseaport.orgYachting historian John Rousmaniere tells the story of an iconic racing yacht, “The best in her class,” and the men and women who conceived, designed, sailed, cared for and restored her to her grandeur. Beautifully illustrated with Sparkman and Stephens drawings and photographs from the Mystic Seaport Rosenfeld Collection and others.

Kovels’ Antiques & Collectibles Price List, 38th Edition, 2006Terry Kovel, Ralph Kovel Random House Paperbound $19.95864 pp ISBN: 0375720995To order: Amazon.comMany new items.

The Mariners Book of DaysPeter Spectre Paperbound $13.95Sheridan HouseISBN: 1-57409-2014To order: sheridanhouse.comThe only desk top appointment calendar full of nautical insight, information, artwork, musings and trivia by the master of nautical information, whose regular column in WoodenBoats and now in Maine Boats, Homes and Harbors has an inter-national following.

A Maritime Album:100 Photographs and their StoriesJohn Szarkowski and Richard BensonSoftbound $24.95245 ppTo order: maritime.orgPhotographs from the Mariners’ Museum in Newport News, Virginia accompanied by descrip-tive and informative essays.

Masterworks of the Illinois River:Decoys from the Collectionof Thomas K. FiggeStephen B. O’Brien & Julie CarlsonDavid Allen, PhotographyStephen O’Brien, Jr. Fine Arts153 ppTo order: 410-742-4988A discussion of the lives and techniques, and a visual display of the styles of 27 master carvers who were at first duck hunters in the Illinois River Valley from 1860 to 1940.

Ove ArupPeter Jones Hardcover $40Yale University Press352 pp ISBN: 0-300-112963To order: yalepress.yale.edu(to be published in October)First biography of Ove Arup (1895-1988), the bril-liant engineer who made the Chunnel (Channel Tunnel Rail Link), the Sydney Opera House, London’s Millennium Bridge, and Kansai’s floating airport in Japan possible. Illustrated with 80 never before seen historic photographs.

Perfect Waves:The Endless Allure of the OceanPierre Nouqueret, Editor Hardcover $22.50Sylvain Cazenave, et al., PhotographersAbrams160 pp ISBN : 0-8109-5743-4To order: 800-759-0190A global journey through exquisite photographs and essays exploring the movement and nature of water in search of the perfect wave.

Peter CorbinAn Artist’s CreelTom Davis Hardcover $60Hudson Hills Press256 pp ISBN: 1-55595-256-9To order: 802-362-6450Scenes of bonefish flats, the elegance of flyfishing, spectacular salmon rivers, waterscapes, landscapes, grouse thickets and equestrian themes reflect Peter Corbin’s Hudson River School influence and convey the drama and beauty of the outdoor experience.

Sailor-PainterThe Uncommon Lifeof Charles Robert PattersonRobert Lloyd Webb Hardcover $55Flat Hammock Press448 pp ISBN: 0-9758699-1-4To Order: 860-572-2722Charles Robert Patterson (1878-1958) began his

nautical career at age 13, crossing every major ocean and rounding Cape of Good Hope and Cape Horn before the age of 20. After “swallowing the anchor” he began an illustrious career as an inspired, academically trained painter of real ships in real seas.

Sargent’s VeniceWarren Adelson and Richard Ormond, et al.Yale University Press Hardcover $65224 pp ISBN: 0-300-11717-5To order: yalepress.yale.edu(to be published in December)Highlights 70 luminous paintings in brilliant color painted by John Singer Sargent during his many visits to Venice, and examines his relationships with other Americans and Italian artists in Venice.

Silent TideNorman Ackroyd, RA Hardcover $110Douglas DuneRoyal Academy of Arts160 pp ISBN: 1-9039-7368-6To order: 800-759-0190100 aquatints of Britain’s foremost landscape artist, and the accompanying poems of an award-winning poet and novelist take the reader on a journey of splendor around Britain’s coastline.

Ted HoodThrough Hand and EyeTed Hood and Michael LevittMystic Seaport Hardcover $50199 pp ISBN: 0-939511-14-2To order: 888-973-2767 / mysticseaport.orgSailmaker, marine innovator, visionary yacht designer, skipper of America’s Cup defender Courageous, this is a richly illustrated autobiogra-phy of a living legend from his earliest years to the present, with some secrets revealed.

Tugboats of New York: An Illustrated HistoryGeorge Matteson Hardcover $39.95New York University Press271 pp ISBN: 0814757081

To order: amazon.comNew York history, maritime history and the his-tory of tugboats and the men who worked these workhorses of the harbor unfold in this volume richly illustrated with photographs by Gordon Parks, Todd Webb and others.

Warship 2006John Jordan Hardcover $55Conway Maritime Press/Naval Institute Press224 pp Item #: 1844860302To order: usni.org / orders@anovabooks.comDrawings, designs, development, and history of service of French cruisers of the 1930s, Italian evasion fleet, Soviet battle cruisers and British postwar cruisers, as well as the Baden trial are highlighted in this 28th volume.

William A. CoulterA Master’s Brush with the SeaMarcus de Chevrieux Paperbound $22.05Paul and Linda Kahn Foundation56 pp.To order: 415-775-2665 orwww.maritime.org / maristore.htmExhibition catalogue containing paintings and drawings by this leading turn-of-the-century West coast artist. (See our exhibition page)

William Fredericks (1874)Scale Journey: A Scratch Builder’s Evolutionary DevelopmentAntonio Méndez C. Hardcover $64Pier Books/Dupont Communications274 ppTo order: pierdupont.com / 845-268-5945Containing 50 color photographs and 739 black and white photographs and diagrams. This volume contains the methods, tools and materials developed by the author over 53 years of building scratch built ship models, along with a detailed description of his build-ing of scale sailing models of the topsail schooners. William Fredericks also includes sources for quality ship plans.

Winslow Homer: Poet of the SeaSophie Lévy, Editor $50Terra Foundation for American Art152 ppTo order: mbosson@maag.orgAccompanying catalogue to the exhibition with over 100 illustrations. (See our exhibition page)

Wooden Ships & Iron Men:The Maritime Art of Thomas HoyneReese Palley and Marilyn Arnold PalleyQuantuck Lane Hardcover $59.95224 pp ISBN: 1-593-72013-0To Order: Amazon.comThis first ever volume on Hoyne’s work discusses his life and his technique as well as the challenges of fishing in the treacherous Gloucester waters; illustrated with over 100 beautiful reproductions of his paintings of fishing schooners and the perils of the sea.

NOTEWORTHY N E W B O O K S

TO ORDER A SIGNED COPY: $85 plus $10 shipping and handling per book. Contact the Greenwich Workshop Gallery, (800) 243-4260, 1657 Post Road, Fairfield, CT 06824, or email us at service@greenwichfinearts.com Phone orders require major credit card. To order by mail, please include check or credit card information.

Wholesale and corporate gift orders: order ten books – get one free. Please contact the publisher: (800) 243-4246

At last, the definit ive book on contemporary marine art we’ve beenwaiting for. The leading authority in the field guides us through the

breathtaking beauty of today’s marine art and the artists who arethe recognized leaders of the new renaissance of this

grand tradit ional art form.

If you could have one book in your library

on contemporary American marine art, this

should be it. Written by the acknowledged

authority in the field, it provides indispensable

insight into the most important marine art

artists of our time.

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The Louvre Museum in France, for example, has made its own decision. As many people know the controversial new film based on Dan Brown’s book The Da Vinci Code begins with the murder of a Louvre curator found in the museum’s Denon Wing. Shooting for that part of the film actually took place at the Louvre after hours. Not to be outdone by the entrepreneurs who are now offering Da Vinci Code tours of the Louvre, the Louvre itself has put together its own Da Vinci Code audio tour called “Step Inside The Da Vinci Code”, which was actually produced by Sound Walcott, a New York based company. They’re offering these tours for $13 - below what the private tours cost. You can actually buy them online at iTunes music store, or the Louvre’s own Web site louvre.fr/louverea/htm. Dider Selles, General Administrator at the Louvre said, “One of our goals is to attract people who are not used to museums.” They have actually begun a program to offer seed money to directors whose films will feature the Louvre as a backdrop, and in return will offer free use of the museum as a set.

Many people don’t know that many museums are involved in renting out their space after hours. You can, for example, hold a party for hundreds of your closest friends within the walls of the Metropolitan Museum of Art in New York. Many other museums make themselves available for these opportunities. Having a party in the

Egyptian Gallery at the Metropolitan is really kind of like getting seated at one of the exclusive tables inside the kitchen of one of New York’s best restaurants. You feel like a real insider.

How popular is the Metropolitan Museum among actual and virtual museum goers? Well, according to the museum itself, last year 4.5 million people visited the museum, while 15 million people visited their Web site which provides information in 10 languages, and a variety of programs. That’s a staggering number. But if you would like to make it 15 million and one, their Web site is www.metmuseum.org.

The Yale Center for British Art in New Haven, Connecticut is utilizing its resources to offer a fascinating program to members of the New Haven Police force. In a program designed to sharpen their powers of observation, they’re given an allotted amount of time to observe paintings and then asked to write an exhaustive description of what they’ve seen. It fits right into the police department’s mandate as detective Lt. Irvin Badgert says, “The main focus of our job is to be trained observers.” The germ of this idea began in 1997 at the Yale School of Medicine, which developed it into a program that is now required of all first year students in the medical school. Linda Friedlaender at the British Art Center, and a Professor of Dermatology, Irwin Braverman

developed the program after Friedlaender noted that the resident physician examining a friend of hers didn’t observe how agitated the person was. While Braverman felt that too much emphasis might be placed on laboratory test analysis in the education of doctors, rather than the observation of the patient. The germ of this program has now spread so that the Yale School of Management’s business students are using art to hone their observation skills. And in New York City, the Frick Collection has offered the same program to medical students at the Weill Medical Center and Cornell and others, and also to the New York City Police Department. It’s even spread to London’s Scotland Yard. Now here are uses of paintings that Michelangelo, Leonardo Da Vinci, Caneletto, and Buttersworth never had in mind!

Here’s an interesting new service being offered on the Internet by MapMuse.com, which “Maps everything from wineries to bed and breakfasts to Starbucks.” They’ve now added an interactive nationwide map of art galleries to their services. The idea being, if you plan on visiting a certain region you can log on and find a gallery that may be an interesting destination reflective of your interest. To access it visit mapmuse.com.

That’s all the news we have room for now. There will be more in the next quarter.

Continued from page 7

Antonio Jacobsen (1850-1921) Pilot Boat NEW JERSEY with Inman Liner and Sandy Hook Lightship Oil on Canvas Signed Lower Right 1903 22” x 36” $45,000

Another Jacobsen painting “Schooner DREADNOUGHT Competing for the Cape May Challenge Cup”recently sold for a world record $281,000 at auction. See page 24 for the fascinating story.

Steve Cryan Watercolor 21” x 29” $6,000The QUEEN MARY Docking at Luxury Liner Row in New York 1950

Assisted by MORAN Tugs DORIS, ELIZABETH, MICHAEL

Continued from page 18

Continued on page 27

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and sells for $18,000; and yacht racing and other Chesapeake Bay scenes. For more information visit www.johnbarberart.com

Willard Bond was one of the very first to see the potential of giclée prints. It’s amazing to see his powerful, nearly abstract watercolors translated in this new print medium printed directly on water-color paper. They’re quite astounding. Two of his newest are “ Knarr Class” and “Courageous.” Each are published in an edition size of 150, measure 45”x34” and sell for $950 each. There are 30 giclée prints of Willard’s currently available. More informa-tion can be found at www.annapolismarineart.com.

If you’re in Newport, Rhode Island this sum-mer, be sure to stop the International Yacht Restoration School, if nothing else, just to appre-ciate the shear esthetic beauty of classic yachts in and out of the water. Their fundraising gala this summer is an auction featuring, among other items, a fascinating painting by Danish born but New York/Hoboken, New Jersey resident Antonio Jacobsen (1850-1921). It’s one of 5 paintings he did of the steam yacht Riviera owned by Frederick Gallatin. This one is not square or rectangular, but pyramidal shaped on a wooden panel believed to have come directly off the yacht itself.

Jacobsen’s stock has continued to rise as the pre-mier ship portrait painter in New York City at the turn of the century. It’s estimated that he painted over 5,000 and as many as 6,000 paintings—later in life, after 1900, with the help of various chil-dren and assistants. Because the paintings are so numerous and were often treated badly—they hung in bars, restaurants all over the New York area—in addition to private collections, their val-ues at auctions and elsewhere have tended to be all over the map based on condition, rarity and qual-ity. Even today you find them in obscure auctions in terrible condition selling for $5,000-10,000. In other auctions, premier examples sell for $50,000 dollars and up.

An interesting convergence of Jacobsen, James Buttersworth and television market appeal occurred recently over a period of months begin-ning with the appearance of an unsigned painting on Public Television’s Antiques Road Show. This large, 30”x40” oil featured a schooner approach-ing a buoy with a square-rigged ship behind. The Road Show expert Debra Force identified it as a painting by James Buttersworth (1817-1894) and valued it between $215,000-500,000. Part of her reasoning according to Force was that, “The bil-lowing sails are characteristic of Buttersworth,” and that the schooner was flying a U.S. flag, “an extremely popular element in any art today.” But the story doesn’t end there. After the Antique Road Show appraisal the owner decided she wanted to sell the painting. (Gee what a surprise!) So she began contacting auction houses and settled on Boston based auction house Skinner. Skinner corroborated Force’s appraisal and identified the schooner as James Bennetts’s Dauntless. As the result of the exposure on television, both Force and Skinner’s expert, Stephen L. Fletcher, began getting phone calls questioning the attribution. So they continued to dig, visiting the records of the New York Yacht Club, and using the flags on the schooner ultimately identified it as the schooner Dreadnought they believed competing for the Cape May Challenge Cup, October 10, 1872, painted

not by James Buttersworth at all, but by Antonio Jacobsen who painted, obviously other things besides ship portraits in profile. The painting then came to auction at Skinner’s as an Antonio Jacobsen still unsigned. And when the gavel fell it was for a world record price of $281,000. Three times higher than the $86,000 a Jacobsen had brought at Bonham’s auction house in 2003.

One wonders how often this happens with apprais-als or auctions. In this case Charlie Lanagan, one of Skinner’s consultants, summed it up by saying, “Doing the research was like working on a crossword puzzle. Every time I thought I had the answer I’d find information wouldn’t fit the other way. Eventually it came out all right.”

One interesting follow up is a letter which appeared in Maine Antiques Digest after the auction from Tony Peluso, perhaps the leading authority on Antonio Jacobsen’s work. His feeling was that the Jacobsen could probably have easily been identified perhaps by comparing it to one of the five signed versions. There’s an 1876, and 1878, 1879 and 1895 listed in Harold Sniffen’s book The Check List, which literally lists almost every painting Jacobsen ever painted by ship name and subjects, or the book Painted Ships on Painted Oceans which actually depicts similar examples. I’m not sure exactly what the moral of this story is except that even the experts can be fooled. It pays to do as much research and homework as you can do. Although of course, collectors of contemporary works don’t usually have this problem. They can simply check with artist and make sure it came directly from him or her!

If you’re visiting an exhibit in Newport this sum-mer, it should probably be at the Museum of Yachting where Russ Kramer has an exhibition of his paintings running through August. Included among them is a fascinating painting which places the viewer right on the deck of the schooner yacht America as she’s won the first “America’s Cup” off Cowes. She’s sailing by the royal yacht, sailors on board are doffing their caps towards Queen Victoria on that famous day, August 22, 1851. The painting was painted as a commission for Rudolph J. Schaefer, Jr. whose father was the author of the definitive book on the paintings of James Buttersworth. Together they were responsible for building the first full-scale replica of the schooner yacht America which is still sailing today. Rudie and his wife Jane have been great benefactors of contemporary marine artists, helping to con-struct the Maritime Gallery at the Mystic Seaport Museum, and building a terrific personal collec-tion, one section of which is devoted to paintings of the schooner yacht America in various stages of her career by some of the today’s leading artists, including John Mecray, Tom Hoyne, Carl Evers, Don Demers and now Russ Kramer. It’s fasci-nating to see various artists’ interpretation of the same event. Aside from Rudie and Jane’s personal decision and interest in America, it’s a terrific way to focus a collection by picking a particular subject like that.

While some artists find themselves working on a variety of disparate subject matter, other artists like to hunker down and explore a single or related theme over a period of time. This summer Loretta Krupinski will be showing a series of paintings she’s been making over the last several years based

on the fishing boats, piers, and men and women who give so much character to the hardworking waterfront in Rockland and Thomaston, Maine. She’s highlighted the period between 1850 and 1940. Those paintings will be on display at the Maine Lighthouse Museum in Rockland through September 30. See our exhibition page for more details, or visit www.mainelighthousemuseum.com.

If you’re visiting Nantucket this summer, you may want to stop in at the Nantucket Whaling Museum which has just added a large sculpture by Wick Ahrens to their permanent collection. It’s entitled “Where have all the whalers gone.” And as Wick, who calls himself “Moby Wick” and who has been carving three dimension complete sculptures and wall plaques of whales at his Vermont studio for the last twenty years writes, “I’m thrilled that my work will be exhibited long after I’m gone. Maybe I should rename the piece “Where have all the whale sculptors gone.”

Cape Cod and the islands are the subjects of new giclée prints on canvas released by Michael Keane this year. They range from a small print of catboats sailing in the marsh “Under the Rainbow”, 8”x12” for $150, to views of the popular yachting destina-tion and striped bass fishing capital Cuttyhunk which measures 10”x20”, published in an edition of 95 and sells for $325.His print of classic J-boats Shamrock and Endeavour, measuring 18”x30”, sell-ing for $550. Compare that to the original painting, which measures 24”x40” and sells for $135,000. Michael was the subject of an article in Décor maga-zine this year. It’s interesting to observe his artistic philosophy which he describes as, “I like to think that art is meant to elevate the human condition, not pull it down. I believe the job of an artist is to lift people up.” More information on his prints can be seen by visiting www.chandlermilleditions.com.

Speaking of unique carvings, you haven’t seen anything yet until you’ve seen the magnificent cre-ations of Kaye Williams. Kaye, and his son Bruce and daughters Jan and Jill and their husbands, own and operate Captain’s Cove Marina and Restaurant in Bridgeport, Connecticut. Kaye is a lifelong fisherman and lobsterman. Heck, he started hauling lobster traps for a living at the age of 14. Over the years he’s been involved in a tre-mendous number of maritime projects, including singlehandedly saving and restoring the HMS Rose and operating the foundation that kept her alive for over 20 years until she was sold two years ago to the Fox movie people for use in the making of the movie based on Patrick O’Brian’s novel Master and Commander starring Russell Crowe. She now exists as a permanent exhibit at the San Diego Maritime Museum.

Kaye will not call himself an artist, but in his spare time in his workshop he’s been turning out nautical pieces that are nothing short of first class works of art. These include a version of a ship’s double “careening” block which measures 5ft. long and 4ft. high, and is finished in natural wood (you could careen the Queen Mary with that baby!) to a 8ft. long painted cleat which is beautiful just for its sculptural beauty. And these sculptures really celebrate the clear and simple beauty of objects designed to be functional, but in their functionality become esthetic objects, particularly at this scale. What Kaye is going to do with them, he’s not sure. He was just inspired to make them, but I know he

Lloyd McCaffery Clipper Brig NEWSBOY, 1854 Scratch built ship model scale 16”=1” 7” x 12” x 12 ½” encased $28,000

This handsome clipper brig personified the essential qualities of her type and period. She had both good looks and speed. She was built at South Thomaston, Maine in 1854. She was 111’ long, 26’-2” breadth, and 11’-5” depth. Her owners were Dabney & Cunningham of Boston. Her plans were published in Griffiths’ Monthly Nautical Magazine, and this material is the basis for all modern interpretations of her. There is also some material on her in the Nederlandish Historisch Scheepvaart Museum. Erik A.R. Ronnberg, Jr. has made major revisions of the standard interpretation of her, and it is this approach that I used.

The model is set with the wind from the port quarter. She is under lower and upper topsails, and double reefed spanker. The two fore staysails are set, with some of the crew visible working out on the jibboom. The fore course, carved from wood, is shown brailed up. The case is of black walnut veneer.

The hull is planked over solid, with careful weathering used throughout. The deck fittings are mostly of holly and apple wood. The bell is turned of brass. The pinrails have pins with coils on them. The taffrail features individually turned wood stanchions, and the name is hand lettered on the stern.

The spars are of degama wood, with the rigging of a nickel-chromium allow wire, with ratlines of copper. The sails and flags are of neutral pH glassine. The sails have been specifically formed to curve in two dimension, giving the “bag” to the sail. The spanker is laced to the gaff, and reefed to the boom. Various patches show on the sails. A total of nine crew figures are shown about the vessels, with a dog on the fore companionway.

Lloyd McCaffery

is looking to find a new home for them. Any takers just give him or Jan a call at 203-335-1433.

Of course, the beauty of boats derives directly from the form follows function relationship. No one else can testify to that more than William Muller whose paintings of the varied craft which ply the waters in and around New York Harbor: tugboats, day-liners, ocean liners, steamers, pilot boats and ferries are the subject of a six page article Italian publication Arte Navale in their February-March issue. This is all in preparation of a publication of book illustrating the 40-year career of Bill Muller scheduled to be published by Flat Hammock Press this fall. We’ll keep you posted on that. As the yachting world looks towards the next America’s Cup off Valencia, Spain, we will hear more and more of this magazine, which has been putting out a first class publication for the last several years. The same issue contains an article about the J-boats illustrated by a painting of Enterprise by Tim Thompson and a beautifully illustrated article on the critical scratch built model of HMS Victory by Italian modeler Franco Rovida. More information on this fine publication can be found at www.artenavale.it.

Speaking of liners, here is a fascinating conver-gence of liners and art. We recently learned of the 220 ft. yacht The Grand Luxe specially designed by the yacht designer Luiz de Basto, built to be a floating art gallery in essence, with three exhibition decks housing 26 individual galleries, which are

destined to be leased out in 2 to 5 week segments to art and antique dealers, galleries and jewelers. Their plan is to be sailing for an 11 month voyage beginning in the fall 2006 in Miami, Florida, trav-eling to destinations on the east and west coasts of Florida during the winter of 2007, and in the spring heading north, stopping in Hilton Head, Charleston, Washington, DC, Philadelphia and New York. The summer of 2007 she’ll be traveling between Greenwich, Nantucket, Cape Cod, and returning south in the fall. They won’t be focusing strictly on marine art by any means, of course. In fact, the organizers say some trips will be exclu-sively contemporary art, for example. Their plan is to tie in with a local charity in each destination so that during a 5-day stop they’ll be tapped into their donor base, and also helping to raise money for the local charity. Dealers will be paying between $10,000 and $35,000 per week to show their art on board—so you would expect the art to be at a high level. It’s an interesting concept, and obviously a clever marketing idea. We’ll see how it works. For information on when they’re stopping in your area visit www.expoships.com.

We had a visit recently from David Hamilton. During the course of our visit he mentioned he belonged to the Chelsea Arts Club in London where the discussion at the bar turned recently to determining what subject matter would guarantee that a painting would sell. This is akin to writing the prefect country song. You make sure it includes

a dog, a truck, a broken heart, your mother, and beer, and you’ve got a winner. Here’s what the guys at the Chelsea Arts Club came up with: 1) the painting shouldn’t be too big, it should be small; 2) the subject should be Venice; 3) it should include some of the landscape of Venice in moonlight; and 4) the painting should contain cats. They went so far as to decide to have an exhibition in October where every painting submitted must contain a cat. So if you’re visiting a gallery and see a painting of Venice in the moonlight with a cat in it, you know it’s a Chelsea Arts Club boy who’s been at work.

Speaking of England, Tim Thompson is moving in some rarified circles these days. He’s been asked to complete a painting of Chichester’s yacht Gypsy Moth, in which Chichester completed his famous voyage circumnavigating the world solo in 1967. The vessel was on display at the Maritime Museum in Greenwich, England out of the water next to the clipper ship Cutty Sark. She’s recently being sailed around the world again by three teenagers as a fundraising effort. Tim’s been asked to do the painting by David Green on behalf of the United Kingdom Sailing Academy, to raise money to keep her sailing. Presentation of the painting will take place at Buckingham Palace, where it will be auctioned by Princess Ann to raise money for the Academy. Pretty heady stuff, Tim. For more information, visit www.gypsymoth.org.

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J. Russell Jinishian is internationally rec-ognized as America’s leading authority on contemporary marine art. The former long time Director of the Marine Art Gallery at Mystic Seaport Museum, his writings have appeared in Sailing, Sea History, American Artist, Art New England and other publications. For many years he was the Art Critic for the Connecticut Post

and a Contributing Editor of Nautical World Magazine, where his popular column on marine art appeared regularly. He has served as a juror for many exhibitions, including three times for the Arts for the Parks Exhibition, sponsored by the National Parks Service. He is the author of Bound for Blue Water, considered the definitive Guide to Contemporary Marine Art. He currently operates the J. Russell Jinishian Gallery, specializing in 19th, 20th, and 21st Century Marine and Fishing Art and continues to lecture nationally on marine art and collecting. He may be reached at 1657 Post Road, Fairfield, CT 06824. Phone: 203-259-8753 Fax: 203-259-8761, or e-mail: rjinishian@optonline.net

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Marine Art Quarterly designed by Mizerek Design NYC Books & Events edited by Peach Pair

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Etching and drypoint Image: 19 ½" x 25", sheet: 21 ½" x 26 1/8" $20,000A small printed remarque, in the form of an anchor between two ship’s clocks, is etched in the lower left corner of the plate.

WINSLOW HOMER (1836 - 1910)EIGHT BELLS, 1887

Winslow Homer spent much of his life working in his studio in Prouts Neck, Maine. Today this American landmark has been recently purchased by the Portland Museum of Art, which plans to make it available for public visits for the very first time in 2007.

In 1887 Homer painted one of his most famous images there, “Eight Bells” depicting two oil-skinned sailors taking their noon observations. In the same year, he made this copperplate etching—one of eight etchings made by him between 1884-89. These were printed for Homer by George W.H. Ritchie and his assistant Charles S. White between 1887-1900. In 1941 William M. Ivins, the Curator of Prints at the Metropolitan Museum of Art, purchased this plate along with four other original plates for the museum, and commissioned White to make an edition of 50 prints of “Eight Bells”, at which time the plate was retired into the museum’s collection. The museum then made the prints available for purchase. This remarkable print from the 1941 printing has just surfaced—an iconographic image by one of the finest artists America has ever produced.

From Baja, Scott Kennedy reports that he’s begun work on a series of pen and ink drawings to illus-trate a new edition of John Steinbeck’s famous book a Log from the Sea of Cortez at the behest of Steinbeck’s son Thomas Steinbeck. Scott said he took his first trip overland into the Sea of Cortez recently “for the purpose of finding the close up details of plant, rock, tide pool, life on shore and characteristics for the backgrounds in my drawings.” Steinbeck wrote this classic book as a result of a trip taken with his friend, marine biologist, Ed “Doc” Ricketts in the early ‘40s. Scott draws with pen and ink like the wind. This will be a great supplement to your Steinbeck library. Of course, we’ll keep you posted as the future publication date nears.

For art lovers there’s nothing more fascinating than visiting an artist’s studio and seeing first-hand the environment in which an artist creates. If you’re in Paris you can visit Rodin’s studio, the studios of Eugene Delacroix, Gustav Moreau and others. Elsewhere in France Monet’s estate of Giverny is a destination all by itself. In Chadds Ford, Pennsylvania the house of N.C. Wyeth (the father of Andrew Wyeth, the grandfather of Jamie Wyeth), where he lived from 1912 –1945 and raised his artistic family has been restored. Wyeth’s studio is itself an historic national land-mark and a member of the Historic Homes and Studios Group under the aegis of the National Trust for Historic Preservation. It is open from

April 1 – November 19, and is only accessible by arranging a tour through the Brandywine River Museum Tuesdays through Sundays. The tour costs $5.00 per person. Reservations can be made by call-ing 610-388-2700 or www.brandywinemuseum.org.

To check for information on Historic Studios in your area visit nationaltrust.org

Down in the Chesapeake this May the Carla Massoni Gallery held an impressive exhibition of Marc Castelli’s newest paintings entitled

“Slack Water.” They featured his paint-ings of the working watermen of the Bay. His work has been so popular that it’s often sold out even

before the exhibition actually opens to the public.

From Cyprus we hear from artist Catherine Deligeorghi who contacted us several months ago looking for back issues of our quarterly to use for inspiration. She sent us photographs of the paintings she made recreating the historic ships of

Lemnos, Greece. Including an interesting note from her husband Alexis who says,

“Most regretfully places have changed a lot, and even the sea is not the same anymore.” This seems to be a common lament.

We recently hosted our annual exhibi-tion at the American Yacht Club in Rye, New York with over 40 paintings and sculptures on display, and an opening dinner which included among its guests artists Willard Bond, Don Demers, Peter Bowe, Richard Dana Kuchta, William Duffy, Bill Davis, Joe McGurl, Christopher Blossom, Robert Blazek, Robert Lagasse, Gerald Levey, Len Mizerek and Yves Parent.

We also joined artist/sailor Brechin Morgan at the Riverside Yacht Club this winter. He spoke about his decision at the age of 50 to sell his lucra-tive sign painting business and sail around the world single-handed aboard Otter his Pacific Seacraft 28. The voyage took him 4 years, starting and stopping. His talk was a fascinating mixture of sail-ing and adventures and paintings and drawings from exotic ports he’d entered along the way.

Of course, he’s not the first artist to drop out and live the dream. Paul Gauguin was a successful banker and a frustrated painter when he finally decided to chuck it all and move to the South Seas where he made the paintings that have made him famous today.

Our friend, scrimshander Robert Weiss has finally decided to pursue his dream of moving to the Hawaiian islands, once of course the center of the Pacific whaling industry. Today, it’s home to many well-known scrimshanders including Ray Peters, and Yoko Gados. We’re sure Bob will find a warm welcome there. He’s planning to augment his income from selling scrimshaw by using his first class computer skills and understanding of the needs of artists, to create Web sites for other art-ists. He’s done a great job with our Web site which you can sample at jrusselljinishiangallery.com or

marineartquarterly.com. If you have an interest in discussing what Bob can do for you, I’m sure he’d be happy to talk about it. He can be reached at scrimshawinfo@yahoo.com.

We had a nice visit by Bob Grimson and his wife Jean recently. You may have read about them in WoodBoat magazine. They have spent virtually the last 14 years aboard their 37 ft. gaff rigged ketch Meander cruising between the Bahamas and Maine, depending on the season. Bob, in addition to being a boat builder is also a working artist, painting nautical subjects like his hometown in Cornwall in England and 19th century clippers and 20th century steel vessels whenever he is in port. None of his paintings exceed 18”x24” simply due to limitations of space on board. He’s been selling them from $1,500 to $2,000, selling just enough to keep on cruising. After watching the start of the Bermuda Race in June in Newport, they’re

planning to head to Nova Scotia. They are a fascinating couple. So if you’re cruising down east this summer keep an eye open for them.

This June Len Mizerek traveled to the Brittany Coast of France at the invi-tation of the town of Dinan. He was selected as Artist in Residence and given a studio cottage on the estate of the Museum of Yvonne Jean-

Haffen, Maison d’artiste de la Grande Vigne. In return the

museum chose one of Len’s paintings for the museum col-

lection. Nice work if you can get it! C’est bon!

That’s all the news that fits. Keep those cards, letters

and e-mails coming in.

Randy Puckett Southern CrossBronze 43½” H x 38” W x 24” DEdition of 75 $25,000

Somewhere in the warm seas of Earth, below 30 degrees north latitude, a humpback whale mother and calf, with a male breaching beside them, find the company of a group of bottlenose dolphins. The constellation Southern Cross graces the night sky wherever humpback whales are born.

Randy Puckett Rhythm In BluesBronze 10” H x 13” W x 8” DEdition of 350 $1,800

Blue whales are probably the largest animals ever to have lived, and are certainly the largest alive today. They reach lengths well over 100 feet, and weights in excess of 160 tons.

Blue whale calves, born off the Pacific coast of southern Mexico and Central America, spend the winter with their mothers in the waters of the central Gulf of California. Always traveling, the blues congregate to feed in places where currents force cold, nutrient rich waters to the surface. In the spring, the blues start up the Pacific coast, spending the late summer and early fall here in Monterey Bay, before turning south to complete the cycle.