Frederick Hoertz

Early 20th Century Maritime Oil Painting of RMS Aquitania in New York Harbor

Circa 1920s

Turn of 20th Century Spanish-American War Coast Guard Cutter with Cannons Original Oil Painting A fine example of maritime ship portraiture oil painting of a Coast Guard Cutter with cannons under sails during the Spanish American War by renowned Nautical British/American painter Captain William Lindsay Challoner (British/American 1852-1901), 1901. Auction values Luminous and striking painting with seaman unfurling sails heading into rough waters. Challoner served as captain of a naval vessel (Coast Guard Cutter) during the Spanish-American War. Here he is depicted on the deck of the ship while seamen scramble aloft on the rigging during a gale. The captain stands tall before the cannons at the ready to fend off intruders. His paintings are rare and highly prized by museums and Nautical collectors alike. Signed: Lower right corner "W. Challoner" Not framed Dated: "1910" Provenance: A local Monterey Bay area estate find. Condition: Professionally restored (conservation report available) Image size: 27.75"H x 47.38"W William Lindsay Challoner lived the peripatetic life of a mariner, spending much of his time at sea, and in ports such as New Orleans and San Francisco, California. He was born in Bedminster, England, and attended the York Naval Academy. In 1880, Challoner married Mary Cadogan. That same year, the couple immigrated to Argentina and then New Orleans. They had one son, William Lindsay Challoner, Jr. Lloyd’s Lists record Challoner as master aboard J.P. Macheca, a “Clipper Schooner” running bananas from Jamaica during the mid-1880s. The clipper also raced at the Southern Yacht Club in New Orleans. As is often the case, Challoner’s middle name is misspelled as “Lindsey” in J.P. Macheca & Co. records. He is also said to have served as captain for vessels in the Morgan Line. Painting was at first an avocation for Challoner, but his draftsmanship and handling of paint suggest academic training. He may also have learned to make precise topographical drawings at the York Naval Academy. Many of his ship portraits are in the English tradition, notably followers of Samuel Walker, a leading English maritime artist in the 1850s. Like his Liverpool counterparts, Challoner used receding linear and atmospheric perspective to focus on the crisp portraits of specific ships. At their best, his canvases are highly finished, a style that imitates the Venetian tradition of topographical city views associated with Giovanni Antonio Canal, also known as Canaletto. However, Challoner’s restrained bravura paint handling also may bear witness to the influence of the French Impressionists. Challoner seems to have arrived in New Orleans about 1880. He advertised in the press and exhibited at the Creole Art Gallery and Grunewald’s Music Store in New Orleans. In 1887, Challoner moved to San Francisco, where he exhibited his maritime scenes at the Mechanic’s Institute and became a U.S. citizen. He may have been back in New Orleans after 1891, and served as captain of a naval vessel during the Spanish-American War. His art clients tended to be men involved in the shipping industry—ship owners and commission merchants, along with professional clubs and maritime benevolent societies. Challoner’s principal competition in New Orleans was August Norieri, a talented ship portraitist and painter of marines. While Norieri lived hand-to-mouth, Challoner drew a handsome salary working as a ship captain, presumably until shortly before his death at the age of 49. Securing the commission for painting the newly founded New Orleans Yacht Club suggests that Challoner was held in higher regard as an artist than Norieri. The two artists together met the market demand for ship portraiture and marine views in the port city, as had Edward Arnold and James Guy...

19th century maritime seascape of a naval ship similar to those used in the war of 1812, by William B. Hoff (American, 1846-1903). This miniature wat...

Double sided watercolor painting of a ship off the Santa Cruz, California coast and a path through the snow covered mountains on verso by Lillie Esther (Hillman) Heebner (American, 1...

Regal depiction of the Sovereign of the Seas by Victor Lind (Sweden, 19th-20th c.). The ship is sailing towards the viewer, with the sun off to the right, illuminating the sails. The...

The S.S. San Jose shown making way in medium water. This early refrigerated freighter, built in 1904, was designed to transport bananas between the Caribbean and the American mainlan...

19th Century British School Ship at Sea Oil on canvas laid on panel 11 x 14.5 inches 14.5 x 18 inches, framed Frame has chips and paint loss. See photos.

A very good painting of an English Sailing ship by the listed Artist Daniel Sherrin . Listed in the Benezt ! The title is ( the Black Adder ) Oil on Canvice and signed in lower left side in red. Was purchased in London 35 years ago and held in a private collection of Antique Ships Oil Paintings...

ntonio Nicolo Gasparo Jacobsen’s Portrait of the Screw-Steamer Pennland in New York Harbor captures the grandeur of maritime travel in the late 19th century. The painting depicts the Pennland, a majestic steamship, cutting through the waters of New York Harbor with billowing smoke rising from its funnel. The vessel is painted with Jacobsen’s signature precision, showcasing the intricate details of its hull, rigging, and deck structures. The serene yet powerful presence of the ship is set against a dynamic harbor scene, where smaller vessels dot the waters and the soft hues of the sky reflect on the gentle waves. Jacobsen’s expert use of perspective and lighting lends a sense of depth and realism, making the viewer feel as though they are witnessing the ship’s arrival firsthand. As one of the most prolific maritime painters of his time, Jacobsen played a crucial role in documenting the golden age of steam travel. His works, including this detailed portrait of the Pennland, not only celebrate the engineering feats of the era but also serve as historical records of significant vessels. The transition from sail to steam was a defining moment in maritime history, and Jacobsen’s meticulous paintings capture this evolution with remarkable accuracy. His contributions to the maritime art movement remain invaluable, preserving the legacy of the great ships that once traversed the world’s oceans. Provenance: Reference and notes: Antonio Jacobsen - The Checklist: Paintings and Sketches by Antonio N.G. Jacobsen (1850-1921) by Harold S. Sniffen (N.Y. and Newport News...