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Montague Dawson

United Kingdom (1895 -  1973 ) Wikipedia® : Montague Dawson
DAWSON Montague The Flying Cloud

Heffel /Oct 26, 2017
33,613.43 - 50,420.14
Not Sold

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Artworks in Arcadja
861

Some works of Montague Dawson

Extracted between 861 works in the catalog of Arcadja
Montague Dawson - The Lofty Clipper, Clan Macfarlane

Montague Dawson - The Lofty Clipper, Clan Macfarlane

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Lot number: 152
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Montague Dawson R.S.M.A., F.R.S.A. BRITISH THE LOFTY CLIPPER, CLAN MACFARLANE signedMontague Dawson(lower left) oil on canvas 36 by 24 3/8 in. 91.4 by 61.9 cm Read Condition Report Register or Log-in to view condition report Or Provenance Frost & Reed, Ltd., London, no. 5907(acquired directly from the artist inJanuary 1935, no. 5907) Cooling Galleries, London Sale: Christie's, New York, March 1, 1990, lot 271, illustrated (asThe Clan Mc Farlane on High Seas) Omell Galleries, London Private Collection (acquired from the above in1990, and sold, Sotheby's, New York, May 7, 2015, lot 85, illustrated) Acquired at the above sale
Montague Dawson - Silver Clouds: The J. N. Cushing Of Newburyport

Montague Dawson - Silver Clouds: The J. N. Cushing Of Newburyport

Original 1957
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Lot number: 58
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58 Montague Dawson British, 1890-1973 Silver Clouds: The J. N. Cushing of Newburyport, 671 Tons Built in 1853 Signed Montague Dawson (ll); inscribed M.D. 57 mv/co and titled on the stretcher Oil on canvas laid to panel 24 x 35 7/8 inches (61 x 91 cm) Provenance: Private estate, MA, thence by descent in the family to the present owner C
Montague Dawson - Heave To - A Baltimore Clipper In Action With A Coasting Slaver

Montague Dawson - Heave To - A Baltimore Clipper In Action With A Coasting Slaver

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Lot number: 77
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Montague Dawson, F.R.S.A., R.S.M.A. (British, 1895-1973) Heave To - A Baltimore Clipper in Action with a Coasting Slaver signed 'Montague Dawson' (lower left) oil on canvas 28 x 42 in. (71.1 x 106.7 cm.) After a long and bitter parliamentary campaign led, principally, by the ardent philanthropist William Wilberforce, the Act Prohibiting the Importation of Slaves came into effect under U.S. federal law in 1807. This act banned the international transport and importation of slaves into the United States. Although there was a commitment in the United States towards the overall abolishment of slavery, it remained an active market in the southern United States until the end of the Civil War. To counter the illicit import of slaves the U.S. Navy created a task force aimed at the enforcement of the Salve Trade Act. The Navy\’s African Slave Trade Patrol was created in hopes of identifying and suppressing those involved in the illegal transport of slaves and it is reported that this patrol was responsible for capturing more than one hundred slavers clippers. Following this patrol, the Navy established another formal body responsible for patrolling potential ships carrying slaves under the title The Africa Squadron, which was stationed off the coast of West Africa. This company was responsible for capturing 36 slave vessels during its operation. In 1865, 246 years after the first ship carrying slaves to the United States arrived on shore, slavery was formally abolished by the 13th amendment to the Constitution. The law declared 'neither slavery nor involuntary servitude… shall exist within the United States, or any place subject to their jurisdiction.' This is one of Dawson\’s much sought-after battle scenes. The Baltimore clipper is perfectly suited for engaging a piratical slaver. With the advantage of speed, the clipper puts a shot across the bow before the inevitable conclusion.
Montague Dawson - The Flying Cloud

Montague Dawson - The Flying Cloud

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Lot number: 304
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Montague J. Dawson FRSA RSMA 1895 - 1973 British The Flying Cloud oil on canvas signed and on verso titled on the gallery label and stamped Made in England 20 x 30 in 50.8 x 76.2cm Provenance: Watson Art Galleries, Montreal By descent to the present Private Collection, Toronto Montague Dawson was one of the preeminent maritime artists of the twentieth century, which is reflected by the inclusion of his works in the collections of the Royal Naval Museum in Portsmouth and the National Maritime Museum in Greenwich. The artist’s prominence is made even more extraordinary as he never received any formal art training. Dawson began drawing as a young child and honed his illustration skills in 1910 at a commercial art studio. His attention to technical detail and his highly realistic style created a strong demand for his seascapes. While occasionally depicting ships from the late seventeenth century, Dawson was best known for his depictions of nineteenth century clipper ships. The Flying Cloud, one of the distinguished American extreme clippers, was built by Donald Mc Kay in 1851 in East Boston and bought by Grinnell, Minturn & Co. of New York for $90,000. Within six weeks of her launch, The Flying Cloud ran the New York to San Francisco trade route via Cape Horn and on her maiden voyage set a record speed on the route. The voyage usually took more than 200 days to cover 16,000 miles, and The Flying Cloud then bested this on her fourth voyage. She set the world record at 89 days and 8 hours, anchor to anchor, which was a record that stood for 136 years. While the record performance was significant in and of itself, it was even more unique because the navigator was a woman, Eleanor Cressey. Cressey was one of the first navigators to use the course recommended by Matthew Fontaine Maury, the father of modern oceanography, in his Sailing Directions. Due to a lack of cargo, the clipper was out of commission for over two years before being sold to new owners in 1859. Thereafter, she traded out of London, including one tea voyage in 1860 and a charter to return troops home from Hong Kong in 1861 to 1862. In her final years, The Flying Cloud was involved in the timber trade before being wrecked in 1874 on Beacon Island bar, outside St. John’s, Newfoundland. In The Flying Cloud, Dawson captures the speed for which extreme clippers were known through his realistic portrayal of the cresting, choppy waves and billowing sails. The Flying Cloud typifies Dawson’s attention to detail, right down to the minutia of the crew aboard the deck of the ship.
Montague Dawson - British The Old Voyager Hudson Half Moon

Montague Dawson - British The Old Voyager Hudson Half Moon

Original 1609
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Lot number: 502
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MONTAGUE DAWSON (1890-1973), BRITISH THE OLD VOYAGER HUDSON HALF MOON - 1609 oil on canvas; signed lower left, titled to the stretcher 20" x 30.25" — 50.8 x 76.8 cm. With Haynes Art Gallery, Toronto, Inventory No. 1244 in 1945, their inscribed dated label frame verso; Private Collection, Canada This nautical work of Henry Hudson\’s ship, Half Moon, by English painter Montague Dawson commemorates the early exploratory missions into the vastness of the Canadian landscape. Despite not having any formal art training Dawson had a great passion and skill for illustration. After joining the British Navy during the First World War, he continued to paint, perfecting his skills and establishing himself as a preeminent nautical genre painter, so much so that American presidents Johnson and Eisenhower, and the Royal British family were all his patrons. Born in England in the late 16th century, little is known of Henry Hudson before he began the last four journeys of his career. While he is considered one of the most famous explorers in history, he never actually found what he was looking for. After two failed missions trying in vain to find a northern passage route to the enviable trade destinations of Asia and the Pacific, he joined the Dutch East India Company in 1609 and took command of the ship Half Moon. While he was again obstructed by the immensity of the Arctic sea, Hudson decided to sail west, rather than north, over the Atlantic Ocean in pursuit of trade routes. Hudson reached Nova Scotia by summer, and from there he further explored the New York Harbour and what is now his namesake river,The Hudson. Here he found bountiful and abundant wilderness and met and occasionally clashed with indigenous peoples. While considered unsuccessful, this journey inspired him to return the following year with the renewed intent of finding the enigmatic passageway. In 1610 he sailed the ship Discovery back across the Atlantic, entering what is now known as the Hudson Strait and Hudson\’s Bay, before reaching James Bay where his journey came to a fateful end. After a long, bitter winter trapped in ice, tensions aboard the ship were high. When Hudson announced that the mission would continue, several crew members mutinied and stranded Hudson and his supporters on the open sea. While his poor leadership ultimately led to his downfall, Hudson went farther than any of his predecessors in his resolute exploration of unknown and treacherous territory, and discovered what would become one of the most profitable and identifiable outposts in Canadian history.
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