James Edward Buttersworth

The Start of the Great 1866 Transatlantic Yacht Race

Circa 1867

Pluie a Venice is painted in Hambourg's preferred palette of muted blue-green, grey, and gold with splashes of ruby red, deep blue, and emerald green. The soft colors work well for beach scenes and rainy days such as the ones portrayed in this painting. The impressionistic scene shows multiple pedestrians strolling down the boardwalk, shielding themselves from the rain with colorful umbrellas that provide pops of color and balance the overcast sky. The background contains a three-masted ship and Piazza San Marco's famous bell tower and Basilica. Hambourg uses the minimum number of brushstrokes necessary to portray ships, seagulls, buildings and people as well as reflections on the glistening sidewalk. The brushstrokes in the sky have an interesting texture that is controlled yet carefree and there is heavy impasto throughout. His portrayal is both realistic and romanticized. Hambourg was clearly influenced by the great Impressionist artists of earlier generations, perhaps none more than the one with a direct connection to his family. Hambourg's wife, Nicole Rachet, was born into a family with a large collection of works by Impressionist master Eugene Boudin. Rachet's grandfather was a contemporary and friend of Boudin's, and a collector of his work. In their later years, Hambourg and Rachet donated over 300 canvases by Boudin and other artists to the Eugene Boudin Museum in Honfleur, France. It was such a large and important gift that the collection bears...

James E. Buttersworth's most sought-after artworks emerge from his depictions of American racing yachts going head to head in the major regattas...

The most important maritime center in the 19th century, Liverpool, had many advantages. Located on the England-facing west coast of the Irish Sea, the Mersey approach was wide, deep and actively associated with all aspects of shipping. It also faced northwest, as the distressed fleet in Witham's work has discovered on a stormy February 8, 1881. To the rescue of the 12 ships, the Pilot Schooner No.2, LEADER, signals the fleet to follow, using the pre-1900 commercial code signals "l w c". She has waited for the rising tide and keeps the line tight to the red starboard buoy, Q1, which marks the beginning of the Queen's Channel. Within a span of hours, all twelve ships were led successfully to their docks. Witham painted the scene in conjunction with the great acclaim the Pilots received in 1881, and it became so popular that he painted additional works marking the event over time. His local contemporary, Samuel Walters...

This attractive portrait features the five-masted schooner ELINOR H. at full sail in an active sea. The ship has crisp lines and a sharp sense of detail, likely because it was painte...

James Burrell Smith (died 16 December 1897) was a watercolour and landscape artist. He was born in London. In 1843 he moved to Alnwick, Northumberland where he trained with Thomas Miles Richardson...

Orientalist painting by Georges Philippe Jacqmotte (1876–1949), a Belgian painter known for his Impressionist landscapes and still lifes. 'Odalisque' is the French term odalisque c...

Rizaldy Celi Jr. (American, Filipino-Vietnamese, born 1983) "The Form of Her Affection" 2024 Oil Paint, Canvas The artist signed the bottom right of the painting. In "The Form of He...

This oil painting is painted on all edges so there is no need for framing. It is wired with all installation hardware and ready to hang. It is one of three paintings in a series of similar compositions, each painted in subtly different hues of blue. The work particularly well as a trio. See photos for images of other two paintings. Each painting is sold separately but I can combine shipping for your savings. Signed on the back. Bucks County, PA landscape artist Kirby Fredendall...