Fine Maritime Seascape Painting of American Clipper Ships by Henry Scott

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

"Frisco Bound: The Great American Clippers 'Dreadnought' and 'New World'"

Oil on canvas
Signed lower left "Henry Scott"

20" H x 30" W [canvas]
24 1/2" H x 34 1/2" W x 1 3/4" D [frame]

This painting depicts two full-rigged American clipper ships driving through a lively sea under a bright, broken sky. Both vessels are shown under press of sail, their tall masts and expansive canvas sharply defined against the horizon. The sea is rendered with animated, layered brushwork with a heavy impasto, emphasizing a sense of forward motion and windy conditions against the water and vessels. The painting is executed in oil on canvas and remains housed in its original giltwood frame. It is signed “Henry Scott” at the lower left and titled on the reverse of the canvas along the painted edge. The painting was formerly with Macconnal-Mason and Son, Ltd., one of the principal dealers representing Henry Scott's work during his lifetime.

The ships represented are the celebrated American clippers Dreadnought and New World, both icons of mid-19th-century maritime innovation. Dreadnought, launched in 1853 from the East Boston shipyard of Samuel Hall, was among the fastest sailing vessels ever built. Designed for the highly competitive packet trade between New York and Liverpool, she became legendary for completing the passage in just 9 days and 17 hours in 1859, a record that stood for decades. Her long, narrow hull, towering masts, and immense spread of sail were optimized for speed rather than cargo capacity, embodying the peak of clipper ship design.

New World, launched slightly earlier in 1848, was another notable American packet ship built for the transatlantic trade. While marginally larger and heavier than Dreadnought, she was similarly admired for her speed, strength, and reliability. Both ships were symbols of American shipbuilding prowess at a time when transatlantic commerce and passenger travel demanded ever faster crossings. Their rivalry and performance captured the public imagination and contributed to the enduring mythology of the great American clippers, whose brief dominance ended only with the rise of steam-powered vessels later in the century.

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 in particular perfectly showcased Scott’s ability to render vessels with remarkable accuracy while maintaining a sense of vitality and movement. He was honored with a life membership in the International Association of Master Mariners, known as the "Cape Horners."

Condition: The surface is relatively untouched and is free of any evidence of restoration. It would benefit eventually from being cleaned (subtle grime presence), though it is not entirely necessary yet and we prefer to avoid cleaning paintings too frequently. However, we can certainly have this service performed for you upon request. A few specks of grime on the varnish layer. Good tight canvas. A very fine presentation. Original giltwood frame with some touchups. Ready to place.

ref. 509FIP30R