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Frederick Judd WaughAntique American Marine Seascape Oil Painting Crashing Surf Atlantic Coast MaineCirca 1910
Circa 1910
$12,500
£9,484.71
€10,844.92
CA$17,459.11
A$19,412.16
CHF 10,135.96
MX$236,293.20
NOK 129,330.39
SEK 121,176.40
DKK 80,937.64
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About the Item
A fine antique seascape oil painting on panel by the celebrated marine artist, Frederick Judd Waugh (1861-1940), depicting the Atlantic of the coast of Maine, circa 1910.
The painting is finely executed with bold and decisive brush strokes with crisp edges, one can almost hear the roar of the ocean as the surf crashes upon the rocks. The painting is signed lower right "Waugh" and is housed in the original carved & gilded frame.
Condition is very good indeed, this fine seascape by one of America's most acclaimed late 19th early 20th century marine artists is ready to grace your wall. The painting will be accompanied with a certicificate of authenticity & provenance.
Frederick Judd Waugh was an American artist, primarily known as a marine artist. During World War I, he designed ship camouflage for the U.S. Navy, under the direction of Everett L. Warner.
Waugh was the son of a well-known Philadelphia portrait painter, Samuel Waugh. He studied at the Pennsylvania Academy of Fine Arts with Thomas Eakins, and at the Académie Julian in Paris with Adolphe-William Bouguereau. After leaving Paris, he moved to England, residing on the island of Sark in the English Channel, where he made his living as a seascape painter. In 1898 he was recorded as living in Heath and Reach, Bedfordshire.
In 1908, Waugh returned to the U.S., settling in Montclair Heights, New Jersey. He had no studio until art collector William T. Evans (a railroad financier and President of the dry goods firm, Mills Gibbs Corporation) offered him one in exchange for one painting a year. In later years, he lived on Bailey Island, Maine, and in Provincetown, Massachusetts.
Waugh’s marinescapes were highly acclaimed, garnering him the Popular Prize at the Carnegie International Exhibition for five years in a row, a feat accomplished by no other artist. In 1914, he was a judge of the art exhibit on Monhegan Island, Maine during the 1914 Ter-Centenary celebration of the Voyage of Captain John Smith.
In addition to his marinescapes, Waugh sometimes published work in periodicals, such as The Green Sheaf, to which he contributed at least one illustration. He also produced paintings and sketches on legendary and mythological themes; see, for instance, his 1921 sketch “Levitation in Dream No. 3”, and his c. 1912 painting “The Knight of the Holy Grail”.
In 1918, Waugh was recommended to serve as a camouflage artist (or camoufleur) for the U.S. Navy, as a member of the Design Section of its marine camouflage unit. That section was located in Washington, D.C., and was headed by American painter Everett L. Warner.
According to a biography of Waugh, “Many large ships, including the Leviathan, were painted according to his designs. Though the enterprise was of course a team effort in which no man played a solo part, he had every reason to be proud of his record. Only one ship with his system of camouflage was lost during the war”.
Waugh was known to produce literary work, publishing a short poem in Pamela Colman Smith’s short-lived periodical The Green Sheaf; a fairy tale in The English Illustrated Magazine; and, in 1916, the book The Clan of Munes. Intended as a work of American folklore aimed at children, the book lays out the fictional history and adventures of the “Munes, or tribe of American Fairies”, creatures Waugh regarded as a “gift to his fellow countrymen”. He reported that the idea for these driftwood-based fairies had come to him two summers previously when painting at Monhegan, Maine.
Together with his non-marine artworks, these pieces reflect Waugh’s lifelong interest in fairy lore and the supernatural. In an interview with New York City paper The Sun (4 November 1916, p. 9), he asserted that he “dreamed dreams and saw visions—real ones”, and described his history of writing fairy tales, along with his regret at burning the stories he had written while in London.
At sight without frame 20" x 16"
- Creator:Frederick Judd Waugh (1861-1940, American)
- Creation Year:Circa 1910
- Dimensions:Height: 26.5 in (67.31 cm)Width: 30.5 in (77.47 cm)Depth: 3.25 in (8.26 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good condition.
- Gallery Location:Portland, OR
- Reference Number:Seller: BB-97121stDibs: LU1366214945512
Frederick Judd Waugh
Frederick Judd Waugh was born into an artist's family. His first teachers were his father, Samuel B. Waugh, a respected Philadelphia portrait painter, and his mother, Mary Eliza Young Waugh, a miniaturist. With encouragement from his parents, he attended the Pennsylvania Academy of the Fine Arts, where he studied with Thomas Eakins and Thomas Anshutz. After three years, he left for Paris, where he entered the Académie Julian and studied under Adolphe William Bougereau and Tony Robert-Fleury. In 1883, while he was still a student, his work was accepted for the Paris Salon. His father's death in 1885 brought him back to the United States, where he spent the next seven years doing commercial work and painting some portraits. In 1892 he returned to Paris. Although Waugh was very versatile and accomplished in depicting a variety of subjects, it was his marine paintings that brought him critical attention. Visiting Sark Island in the English Channel in 1893, he began to study water, rocks, and sky, often battling the elements to paint en plein air. By 1895, Waugh had set up his studio in the English coastal town of Saint Ives, Cornwall, where J. M. W. Turner had painted eighty years earlier. A large window in the studio provided an intimate view of the ocean, and he could continue his intensive study of waves in greater comfort. His wave paintings have been referred to as majesty in motion. Waugh remained in England for twelve years, working as an illustrator for various newspapers and magazines in London, and returning to Saint Ives to paint when time allowed. In 1907, Waugh returned to the United States, eventually settling in Provincetown, Massachusetts. He was elected a member of the National Academy of Design in 1911. For five consecutive years he was voted the favorite artist of the prestigious Carnegie International Exhibition in Pittsburgh. Waugh was known to have painted up to ten canvases a month to keep up with the demand for his work. The United States government called on him to help camouflage the naval fleet in World War I. Fittingly, upon his death, he was buried on the New England coast within sound and sight of the sea.
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