Ambroise Louis Garneray (French, 1783-1857), Prison hulks in Portsmouth Harbour, oil on canvas, 53cm x 107cm. Plaque on frame of the picture reading 'Portsmouth Harbour 1790-1807, painted by Ambroise Louis Garneray French prisoner of war, this view of West End of Portchester Creek, shows the French and Spanish Hulk's that were used for confining the Prisoners of war'. Guards can be seen on the hulks which are flying Red Ensigns. One hulk appears to be flying a Spanish flag and a small sailing craft on the right hand side is flying the White Ensign. Ambroise Louis Garneray (1783-1857): Born in Paris in 1783, the son of Jean Francoise Garneray (himself a student of Jacques-Louis David . Most of the Garneray family were professional artists, but Ambroise (known as Louis) persuaded his parents to let him go to sea aged thirteen. Taken Prisoner on the French vessel 'Belle Poule' in 1806 and not given the privilege of parole he was sent to the prison hulk 'Prothee' in Portsmouth Harbour. From 1812 he was allowed to live ashore in a parole area from which he painted a series of views of prison hulks and shipping in Portsmouth Harbour, released in 1814. On returning to France Garneray had a successful career as a marine artist and became director of the Museum of Fine Arts in Rouen in 1833. The paintings offered for sale in this auction are from this series of works by Garneray, very few are known to exist and this is believed to be the largest single collection of this series of paintings in existence. Similar views of Portsmouth Harbour by Garneray can be found in the National Library of Australia, Canberra (see E.H.H. Archibald, Dictionary of Sea Painters, 1980, plate 324), and a further three in the National Maritime Museum, Greenwich, London (work references: BHC1923, BHC1924 and BHC1925). See 'A History of Napoleonic and American Prisoners of War 1756-1816 - Hulk, Depot and Parole', Clive Lloyd, ACC Art Books, 2007. Provenance: The Clive Lloyd Collection. Formally believed to have been in the Sir Eric Fullerton Collection. Re-lined. Cracking to picture surface. Areas of foxing in the sky. Overpainting/re-touching. Wear.
Ambroise Louis Garneray (French, 1783-1857), Prison hulks in Portsmouth Harbour, oil on canvas, 53cm x 107cm. Plaque on frame of the picture reading 'Portsmouth Harbour 1790-1807, painted by Ambroise Louis Garneray French prisoner of war, this view of West End of Portchester Creek, shows the French and Spanish Hulk's that were used for confining the Prisoners of war'. Guards can be seen on the hulks which are flying Red Ensigns. One hulk appears to be flying a Spanish flag and a small sailing craft on the right hand side is flying the White Ensign. Ambroise Louis Garneray (1783-1857): Born in Paris in 1783, the son of Jean Francoise Garneray (himself a student of Jacques-Louis David . Most of the Garneray family were professional artists, but Ambroise (known as Louis) persuaded his parents to let him go to sea aged thirteen. Taken Prisoner on the French vessel 'Belle Poule' in 1806 and not given the privilege of parole he was sent to the prison hulk 'Prothee' in Portsmouth Harbour. From 1812 he was allowed to live ashore in a parole area from which he painted a series of views of prison hulks and shipping in Portsmouth Harbour, released in 1814. On returning to France Garneray had a successful career as a marine artist and became director of the Museum of Fine Arts in Rouen in 1833. The paintings offered for sale in this auction are from this series of works by Garneray, very few are known to exist and this is believed to be the largest single collection of this series of paintings in existence. Similar views of Portsmouth Harbour by Garneray can be found in the National Library of Australia, Canberra (see E.H.H. Archibald, Dictionary of Sea Painters, 1980, plate 324), and a further three in the National Maritime Museum, Greenwich, London (work references: BHC1923, BHC1924 and BHC1925). See 'A History of Napoleonic and American Prisoners of War 1756-1816 - Hulk, Depot and Parole', Clive Lloyd, ACC Art Books, 2007. Provenance: The Clive Lloyd Collection. Formally believed to have been in the Sir Eric Fullerton Collection. Re-lined. Cracking to picture surface. Areas of foxing in the sky. Overpainting/re-touching. Wear.
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