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3524
ROBERT SALMON
Massachusetts, 1775-1844
"Celebration at an English Port", depicting a historically significant event in a harbor filled with royal barges and other vessels crowded with figures.
A superior example of 19th Century marine paintings and one of the finest and most complex works we have seen by Salmon, detailed to such an extent the water is seen dripping from the oars. The frigate at center right is possibly the Royal George. In addition to the Union Jack and the white ensign, she is flying the Royal Standard, flown only when the monarch is aboard, her sail bears the royal coat of arms, and the fancy red awning on deck bears the royal seal. The vessel drawn alongside is probably the Prince Frederick Royal Barge, while another royal barge is seen at the far left. A flag with a gold anchor on a red field, believed to be the Lord High Admiral flag, is flying from the frigate, the large ship off her stern, the royal barges and possibly other vessels. The ship off the stern also bears an anchor emblem on the sail. Figures fill the ship decks, the barges and the dories in the foreground, and some are seen on bowsprits or in the rigging. Some are in formal naval uniform, while others are civilians tipping their hats and waving their arms. Signed lower right "R. Salmon". Signed and dated verso "Painted by Robt Salmon 1836" and inscribed "No. 868". Titled on Museum of Fine Arts label verso "Royal Barges".
Oil on panel, 18.5" x 24.5". Framed 21.5" x 28.75".
Condition: Thin age-split to the panel on the left side, extending approximately 3.5" into the painting. UV examination reveals some paint restoration at that split, as well as some scattered areas, predominately at the edges to address frame rub with a couple of small spots in the sky.
Condition of Frame: The painting retains its original gold leaf frame with crazed original gilded surface with some touch-ups that are visible under UV light.
The absence of a condition report does not imply an object is free of defects. All items may have normal signs of age and wear commensurate with their age; these issues will likely not be mentioned in the condition report. Please contact Eldred's before the auction with any condition questions. Questions about condition will not be answered after purchase. Condition reports are provided as a courtesy, and we are not responsible for any errors or omissions. Important note on frames: Frames are not guaranteed to be in the same condition as they are in the item photograph. Due to handling and shipping, many frames, especially antique ones, are prone to losses. If you have questions about the condition of a frame, please contact us prior to the auction.
Condition of Frame: The painting retains its original gold leaf frame with crazed original gilded surface with some touch-ups that are visible under UV light.
The absence of a condition report does not imply an object is free of defects. All items may have normal signs of age and wear commensurate with their age; these issues will likely not be mentioned in the condition report. Please contact Eldred's before the auction with any condition questions. Questions about condition will not be answered after purchase. Condition reports are provided as a courtesy, and we are not responsible for any errors or omissions. Important note on frames: Frames are not guaranteed to be in the same condition as they are in the item photograph. Due to handling and shipping, many frames, especially antique ones, are prone to losses. If you have questions about the condition of a frame, please contact us prior to the auction.
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Provenance:
Collection of George Lewis, Sherborn, Massachusetts.
Reference:
A similar work, titled "Visit of the Prince of Wales to Liverpool September 18, 1806" and signed and dated lower right "R.S. 1807" is illustrated in Robert Salmon: Painter of Ship and Shore by John Wilmerding (Salem, Mass.: Peabody Museum, 1971), p. 19. It is part of the collection of the Smithsonian American Art Museum and its Renwick Gallery.
Notes:
Robert Salmon kept a journal from 1807 to July 1840 where he listed most of his paintings by number, running chronologically from low to high, beginning with No. 1 and ending with No. 999. He typically would include the painting's size, title and number of days it took to paint, and if he sold it, he would sometimes include the price. He often, but not always, wrote the journal number on the back of the painting. A copy of the original journal is in the collection of the Boston Public Library, and Wilmerding's Robert Salmon: Painter of Ship and Shore includes an Appendix listing the works. Not all Salmon paintings were listed in the journal; his first works were painted in 1800, seven years before the journal came into use.
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August 8, 2025 9:30 AM EDT
East Dennis, MA, US
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