A crisp view of an extremely rare detailed harbor scene of the American Northeast has two dockside gentlemen enjoying a clear view from the Mattapoisett Shore, looking southwest back toward Shell Beach and Fairhaven. Historically Mattapoisett and her neighbor to the northeast, Marion, formed with the City of Rochester into the community of Old Rochester. Ned’s Point Lighthouse stands guard at the harbor entrance. A black man watches from the fourth floor of the local sailmaker’s loft.

A lithographer as well as an artist, Bonar based out of New York City in the years 1847-60, and for an amount of time after that. He had a partnership with a Mr. Cummings, who remains further unidentified. While a few lithographic works survive by Bonar, this is an extremely rare original work to come up for sale in the public market. The scene is accomplished, with accuracy points that a professional engraver would include, such as the nice proportionate scale of the ocean-going tug boat running broadside, while the sleek-lined coastal schooner departs the local wharf, with other ships at their anchorages.

The region holds its small town charm today, with summer crowds of societies elite taking residence. In the 19th century, the shipyards and lumber mills of Old Rochester supported the whaling and fishing industries of Cape Cod and Martha’s Vineyard. The primary railroad connected to Marion in 1854, so the area rebounded quickly after the Civil War and the discovery of petroleum, more than some of the neighboring towns. This American scene by the artist is an accomplish look at one of the prominent harbors of greater Buzzards Bay.

A colorful pallette combined with a feathery brush technique mark this action filled image of two grand banks schooners rounding a mark in the International Fisherman’s Races off Lunnenberg Nova Scotia. Their top hampers full and straining with the press of wind filled canvas, the American and Canadian competitors define the meaning of the schooner term “fast and able”.

The first of these popular fishing schooner races began in 1920 after a challenge was sent to Gloucester by the Halifax Herald. The Essex built Esperanto was selected to challenge the Canadian champion Delawana. With a hand picked crew, Esperanto sailed to victory and the beginning of an 18 year rivalry that produced some of the most exciting races in history.

This expressive work captures all the nostalgia of an era that glorified the American fishing schooner. Built to spend the entire fishing season at sea and then utilize their great speed to be first in with the catch, these yacht-like vessels combined beauty and a hardworking seaworthiness that marked the apex of commercial sail and a exciting chapter in yacht racing.

Period yacht racing is a rare and desirable subject for marine paintings, and a 19TH Century work from Australia of this prime subject is among the rarest finds we may offer. The artist, Charles F. Gerrard, shows up in 1882 on the Sydney professional trade list as a painter, then as a marine artist and finally as simply ‘artist’. He exhibits his first works with the Royal Art Society in Sydney in 1884, consisting of coastal scenes. He is extremely well received by his contemporaries according to newspaper reports.

The recognizable features of “The Rocks”, along the western shore of Sydney cove near the harbor bridge, stands forth as a superb background for the racing yachts. This historic location is the foundation of the British Australian empire, and today is the oldest preserved colonial district in the country, described as “Sydney’s outdoor museum”.

Fine-lined cutter yachts compete over a sailing course, with two shown in great close detail while five more hold their positions in the regatta, as the rhythmic small swells are evidence the wind favors the leaders running on close reaches with the crossing tide. The crew and yachts are very much in the British formal yachting manner, with full uniforms and the plum-bow hulls. Note that there is one crew attired in red, possibly a naval marine team, and the sail steam ship anchored in the center flies the Australian Colonial Ensign proudly.

A resplendent estate situated along what must be a north-west river in the English countryside, the home is the star subject with a complete array of British persons and vessels acting as the supporting cast. The turning-autumn colors of the foliage accentuate the alabaster manor house. Flying atop one of the seven visible chimneys in the white British Naval Ensign, signifying the naval rank of the property’s owner. The time worn paths along the river frontage are paced by two strolling couples and a woman in a full red shawl. Red is a prominent color for all the watercraft as well, in the sailors’ shirts, the competing collegiate rowing crews and the mother’s cloak of the family at leisure in the rowed boat.

The artist exhibits several fields of knowledge within the scene, and the quality of his work leaves no doubt that this is a painting by a professional artist. The neo-gothic revival shown in the flourishes of architecture are accentuated with the classic Victorian dress worn by the people in public. Then again, the simple country charm of the boy fishing, the heavily wooded groundskeeper shack and the sailors onboard the cutter speak of the artist’s knowledge of multiple professions and pursuits. This is especially apparent with the details to the racing crews, alternating the red verses blue theme to the caps, flags and bulwark rail of each oared scull, and the striped shirts of college athletes. The painting holds historic echoes of British society, sports and leisure pursuits.