"Down Easter 'Harvey Mills' in Boston Harbor" | Henry Scott R.S.A.

HENRY SCOTT R.S.A.
British, 1911-2005

"Down Easter 'Harvey Mills' in the Lower Inner Harbour, Boston, with Governors Island in the Distance

Oil on canvas | signed lower left | titled to the reverse on the stretcher bar

ref. 502DQO07G  29 1/4" H x 45 1/8" W x 1 3/4" D [frame]
24 1/4" W x 40" W [canvas] Provenance: With MacConnal-Mason & Son Ltd. Essay
A very peaceful view of the Down Easter "Harvey Mills" resting in the still waters of the Lower Inner Harbor of Boston, the scene captures the vessel as the focal point of the busy harbor with sail boats and fishing vessels scattered throughout the waters while numerous larger ships are coming and going. Light scatters across the water, illuminating the sails of Harvey Mills with a backlight that renders them nearly translucent. A remarkably pleasing work that showcases the tranquility common in most Henry Scott seascapes. It was formerly with MacConnal-Mason & Sons, the gallery that represented Scott during his lifetime, the label still affixed verso.

The "Harvey Mills" was a wooden Down Easter sailing ship constructed in 1876 at Thomaston, Maine. The vessel measured 231 feet in length, 43 feet in beam, and 29.7 feet in depth, with a tonnage of 2,077 tons. At the time, this was an incredibly large vessel and was ranked fourth in size among American ships. It was an almost doomed vessel from inception, a perpetually unlucky ship that would see many tragic journeys. The vessel construction was overseen by its captain, Harvey Mills, for whom the ship would be named. It was behind schedule before it was even launched with over half of its timbers cut to incorrect sizes and needing to be remade. It launched in September of 1876 and was lost at sea just ten years later in 1886.

Down Easters were a class of 19th-century sailing ships built in Maine, designed for efficiency in cargo transport, particularly in the California grain trade. They featured a modified clipper ship bow and improved cargo handling capabilities, balancing speed and tonnage to make the wheat trade between California and Great Britain competitive. In particular, the "Harvey Mills" is an excellent representation of the Down Easters and a good illustration of the slow evolution of ship design in order to accommodate critical cargo trade during the 19th-century. For a visual representation of the "Harvey Mills", a model crafted by Captain Harvey Mills is part of the collection at the Maine Maritime Museum.

An interesting discussion of "The Unlucky Harvey Mills (1886)" is included in the attached video and is a fascinating overview of the storied vessel. Condition:
Fine original condition. Very minor discoloration to the varnish, overall remaining bright and crisp. Rubbing wear along the extreme edges where the frame touches the painting. Under UV examination, no observed restorations or inpainting - all paint fluoresces brilliantly. Stretcher bars missing a few keys. Frame with a few areas of touchup and inpainting. Ready to place. Biography
Henry Scott, R.S.A (British, 1911–2005)
Henry Scott was a British marine painter specializing in maritime and coastal subjects, particularly ship portraits of British and American clippers. His work is often favorably compared to that of Montague Dawson, with whom he shared a similar approach in capturing the movement and energy of the sea. His compositions frequently depict vessels under full sail, with churning waves and dynamic skies that enhance the sense of motion. His meticulous attention to atmospheric conditions and his distinctive palette made his paintings sought after by collectors and shipowners alike.

Scott exhibited widely throughout his career. He was closely associated with the Royal Society of Marine Artists, displaying his works there from 1950 to 1966. His paintings were also shown at the Royal Academy, the Royal Exchange, and the Guildhall in London. Internationally, his works were exhibited at the St. Malo Museum in France and Madison Square in New York. His contributions to the field of marine art were further recognized through his election as a Fellow of the Royal Society of Arts (F.R.S.A.).

A significant portion of Scott’s output consisted of commissioned works for private patrons. Among his most notable commissions was Morning Cloud (1970), depicting the yacht owned and skippered by then-Prime Minister Edward Heath. This work exemplified Scott’s ability to render vessels with remarkable accuracy while maintaining a sense of vitality and movement.

Scott was honored with an honorary life membership in the International Association of Master Mariners, known as the "Cape Horners."