Ethel Grace Arplin Harlo Lynn

1930s Zeppelin Over San Francisco Landscape

1938

San Francisco Bay Area Seascape with Ships in Oil on Cardboard Seascape with large ships by Honora Berg (American, 1897-1985). The ocean is shown in...

Gorgeous mid century San Francisco Bay seascape oil painting by California artist Hartzell Harrison Ray (American, 1896-1991). Signed "H. Ray" lower right and on verso. Texture added...

Original Southern California Seascape in Oil Paint on Canvas Beautiful seascape that captures the ruggedness and beauty of the Southern California coast by Nadine Pollard (American,...

Gorgeous landscape of artist's interpretation of Santa Cruz and what appears to be Holy Cross Roman Catholic church during late 19th Century by Esther Roebuck (American 1902-1970), p...

Medium: Oil on Canvas Dimensions: 24.50" x 36.00" Signature: Signed Lower Left

'le Aeroship' by Claude Venard is a beautiful chromatic, black, white, grey and blue painting of the Paris Skyline. Featuring the Sacre Coeur, Eiffel Tower, Montmartre, Notre Dame and of course the incredible powerful Biplane. If you are looking for a powerful demanding work then thes pice is most definitely that. Claude Venard is known for his vibrant, semi-abstract works that often-explored structure and colour, aviation was a fascination for Venard. Although, if we imagine ‘Le Aeroship’ within his creative world, it might symbolise freedom, innovation, and the power of human imagination. Venard’s bold use of geometry and texture in this piece could easily translate into a fantastical vision of air travel, with an aeroship designed not for practicality but as a work of art. Using his signature style and cubist influences, Venard used mechanics to create an aesthetic celebration of line, and form. Although he loved to use bright and bold colours, Venard also enjoyed painting with a very muted pallet, often using dark tones to capture a mood or moment in time. This is presented clearly in this monotone city scape. The whimsical biplane which was fascinating for Venard. He had a large collection of tin plate toys...

A painting of an early French dirigible in 1906. This was used as the dedication page illustration in Ships of the Air, a book by award winning children's book author and illustrator...

A portait of the first Allied airship to perform a bombing raid from the sky by a celebrated artist whose work hung on the Titanic. Watercolor and ink on heavy wove watercolor paper, 10 5/8 x 15 inches (270 x 380 mm). Signed in black watercolor in the lower right image area. In very good condition with minor surface soiling on the verso. Titled "Verdun" in pencil on the verso in the artist's hand. Adhered on the verso to matboard at the extreme margins with non archival tape. Presented handsomely in a simple, period maple frame. Titled, dated, inscribed and initialed by the artist on a label on the frame back. Born in Cambridge in 1898 and educated at Southsea School of Art, Norman Wilkinson is known for his graphic art, specifically his British Railway poster images, and also for something quite incredible; Wilkinson revolutionized the art of naval camouflage. Having been assigned to submarine patrols in Dardanelles, Gallipoli, and Gibraltar during WWI as a member of the Royal Navy Volunteer Reserve, Wilkinson was deeply troubled by the unprecedented success the German submarine fleet had torpedoing British ships. He hoped to find a solution to this gaping vulnerability, and in a lightning bolt moment, he had an epiphany that would change everything. Wilkinson says in his autobiography, A Brush With Life (Seeley, 1969), that he realized a ship could be painted to hide its shape against the sea and sky. In his own words, Wilkinson states that the hull of a ship could be camouflaged "not for low visibility, but in such a way as to break up her form and thus confuse a submarine officer as to the course on which she was heading." After some preliminary testing, the theory Wilkinson called "dazzle camouflage" was accepted by British Admiralty and Wilkinson was placed in charge of the naval camouflage unit. The unit, which was headquartered in the basement of the Royal Academy of Arts, consisted of Wilkinson and about two dozen "camoufleurs;" they were artists, students, model makers and consultants, including a zoologist. The dazzle schemes were tested on models and then distributed to artists who were stationed at the docks, where the ships would be painted. At the end of the war Wilkinson was formally declared the inventor of dazzle camouflage and awarded for his contribution. Wilkinson went on to enjoy a long and celebrated career as a painter of maritime scenes, naval vessels, and warships. He served as the president of the Royal Institute of Painter in Water Colours (RI) from 1936 until 1963 (having been elected a member in 1906); he was elected Honourable Marine Painter to the Royal Yacht Squadron in 1919, and he was a member of the Royal Society of British Artists, the Royal Institute of Oil Painters, the Royal Society of Marine Artists, and the Royal Scottish Society of Painters in Watercolour. In 1918 he was appointed an Officer of the Order of the British Empire (OBE), and a Commander of the Order (CBE) in 1948. In January 1920 he was appointed knight (chevalier) of the Belgian Order of the Crown. Among the many notable points of interest regarding Wilkinson's career is that his painting Plymouth Harbour, which was commissioned by Cunard White Star Lines for the first class smoking room of the RMS Titanic, was lost at sea when it perished with the ship. Wilkinson had also created a comparable painting entitled The Approach to the New World, which hung in the same location on the Titanic's sister ship, the RMS Olympic...