Lot Essay
Having a son who attained an international reputation as a marine artist, has led to Miles Walters not yet gaining the full recognition that he deserves in his own right. A gifted second generation vernacular marine artist, his work exhibits a naive charm and freshness combined with great technical accuracy.
This unsigned painting dated 1823 is extremely similar to three other compositions (1) dating from his London period before the family moved to Liverpool, probably with a short stay at Bristol, about 1826. As a rare example of an early American transatlantic packet with a regular sailing date 'full or empty', it is of unusual historic interest. An American concept making for speed and dependability, the innovation led to the New York sailing packets achieving an unrivalled supremacy in the transatlantic trade, until in turn overtaken by British developments in steam navigation.
Regular New York to Liverpool services were inaugurated in 1818, but it was not until 1822 that Griswold & Coates of New York tentatively extended the idea to London, the latter being much less atractive for the American trade (2). The first attempt faltered but following reorganisation a regular service commenced with the sailing of Captain Henry L. Champlin in the Hudson on June 1st 1824 (3). Built in 1822, she probably undertook an earlier maiden voyage to London in 1823. Later the Griswold & Partners line of sailing packets became known as the 'Black X Line', which adds interest to the 'X' motif on the flag here displayed at Hudson's foremast.
Together the two views narrate a variation on the artist's underlying theme of 'picking up the Dover pilot'. In two of the similar compositions mentioned above, the second or stern view shows the vessel 'hove to' with the pilot lugger alongside. In the case of Hudson it seems that this has already occurred and that the pilot has been put aboard, probably from the typical pilot lugger seen on the extreme left of the painting. In the adjacent profile view the ship is again underway although still with reduced sail, the stern view on the right depicts her now pressing on under full sail, includin stu'n'sails. Additionally the second view shows the stern davits are empty, the boat now being towed astern. Its sole occupant sits as far aft as possible to keep the bow light and ensure docile tow; quite an important detail in view of the Hudson's speed and one which Miles Walters would instinctively appreciate as an experienced seafarer.
Dover Castle appears on the skyline between main and foremast, with the South Foreland under the bowsprit, and then just to the right of this headland a number of vessls are anchored in the Downs, with the shoreline continuing in the distance towards the North Foreland. In the true tradition of vernacular art Miles Walters has no hesitation in adapting background scale and perspective in the interests of an informative and richer pictorial narrative, rather than 'photographic' realism. Contrasting with the technical accuracy of nautical detail, it is this combination which endows his work with a charming frankness and naivete.
Hudson will shortly anchor in the Downs, when the ship's boat will be ready for transferring the Dover pilot ashore or to a returning pilot lugger, and for similar shore-going duties. In due course and when the tide suits, the Thames pilot will be picked up for the final leg of the voyage.
Hudson was a well built and 'lucky' ship, surviving in the arduous transatlantic Packet Service until 1832 and then in the whaling service until 1863, when she was sold at Honolulu and renamed Hae Hawaii (3).
This unsigned painting dated 1823 is extremely similar to three other compositions (1) dating from his London period before the family moved to Liverpool, probably with a short stay at Bristol, about 1826. As a rare example of an early American transatlantic packet with a regular sailing date 'full or empty', it is of unusual historic interest. An American concept making for speed and dependability, the innovation led to the New York sailing packets achieving an unrivalled supremacy in the transatlantic trade, until in turn overtaken by British developments in steam navigation.
Regular New York to Liverpool services were inaugurated in 1818, but it was not until 1822 that Griswold & Coates of New York tentatively extended the idea to London, the latter being much less atractive for the American trade (2). The first attempt faltered but following reorganisation a regular service commenced with the sailing of Captain Henry L. Champlin in the Hudson on June 1st 1824 (3). Built in 1822, she probably undertook an earlier maiden voyage to London in 1823. Later the Griswold & Partners line of sailing packets became known as the 'Black X Line', which adds interest to the 'X' motif on the flag here displayed at Hudson's foremast.
Together the two views narrate a variation on the artist's underlying theme of 'picking up the Dover pilot'. In two of the similar compositions mentioned above, the second or stern view shows the vessel 'hove to' with the pilot lugger alongside. In the case of Hudson it seems that this has already occurred and that the pilot has been put aboard, probably from the typical pilot lugger seen on the extreme left of the painting. In the adjacent profile view the ship is again underway although still with reduced sail, the stern view on the right depicts her now pressing on under full sail, includin stu'n'sails. Additionally the second view shows the stern davits are empty, the boat now being towed astern. Its sole occupant sits as far aft as possible to keep the bow light and ensure docile tow; quite an important detail in view of the Hudson's speed and one which Miles Walters would instinctively appreciate as an experienced seafarer.
Dover Castle appears on the skyline between main and foremast, with the South Foreland under the bowsprit, and then just to the right of this headland a number of vessls are anchored in the Downs, with the shoreline continuing in the distance towards the North Foreland. In the true tradition of vernacular art Miles Walters has no hesitation in adapting background scale and perspective in the interests of an informative and richer pictorial narrative, rather than 'photographic' realism. Contrasting with the technical accuracy of nautical detail, it is this combination which endows his work with a charming frankness and naivete.
Hudson will shortly anchor in the Downs, when the ship's boat will be ready for transferring the Dover pilot ashore or to a returning pilot lugger, and for similar shore-going duties. In due course and when the tide suits, the Thames pilot will be picked up for the final leg of the voyage.
Hudson was a well built and 'lucky' ship, surviving in the arduous transatlantic Packet Service until 1832 and then in the whaling service until 1863, when she was sold at Honolulu and renamed Hae Hawaii (3).