Author: Stobart, John (1929-2023)
Title: St. Louis the “Gateway to the West” in 1878 Signed
Description: Maritime Heritage Prints. 1978. Color print . Artist proof signed, apart from the 750 signed and numbered impressions. 23 x 34 inches sheet size..29 x 40 inches mat size. Double Matted and shipped flat.. This scene, which shows the busy levee in its heyday as the commercial metropolis of the upper Mississippi, is seen through the central iron span of the Eads Bridge..St. Louis, located on the Mississippi River below the mouth of the Missouri, guarded the entrance to the frontier. By reason of its geographical position, the city was destined from the beginning to become a major commercial center. Mountain men, fur trappers, explorers – they all gathered in St. Louis... The first trading post was set up at the foot of what is now Market Street in 1764 by Pierre LaClede and even before 1800, pioneers were beginning to establish themselves in the plains of the Mississippi opposite St. Louis. After the War 1812, immigrants steamed into the area; at that time, barges, flatboats, and keelboats were used for trade and transportation... The riverboat Independence initiated steam navigation on the Missouri River in May 1819; others soon followed, and by 1848, St. Louis claimed to be the third ranking port in the United States in terms on tonnage receipts. Only New York and New Orleans had more cargo traffic, but in the number of registered steamboats, St. Louis led every other city in the West... The Gold Rush of 1849 proved to be a boon for the Missouri steamboat captains and for the pilots, who were often paid as much as two thousand dollars a month. The year 1858 set a record for steamboat arrivals in St. Louis; almost four thousand of them, including packet boats, side-wheelers, freight boats, and stern-wheelers. The 1860’s were the golden years of steamboating when St. Louis became know as the “Queen Port of the Mississippi Valley.” Born in Leicester, England, John lived among the magnificent English countryside and inspiring landscapes, which were the subject of his original paintings. However, a visit to Liverpool, the most active port in England, captured his imagination, and he began to concentrate on the sea and ships as his subject matter... In the early 1960s, shipping companies commissioned John’s works and sponsored his overseas travels. In 1978, he became a founding member of the American Society of Marine Artists (ASMA), an esteemed and well-respected organization dedicated to advancing the field of marine art and maritime history. Many of our Salmagundi artist members are also members of ASMA..Stobart is widely considered to be the greatest maritime artist alive today. By any objective measure, he stands alone. His original oil paintings sell for more than twice what has ever been paid to any other living maritime artist. They can cost as much as $175,000 and are owned by people such as Charles Gulden of Gulden’s mustard fame, beer tycoon R.J. Shaeffer III, and Thomas Watson, son of the founder of International Business Machines. Stobart’s largest original, a five- by-nine-foot of the sailing ship Henry Hyde, hangs in Dun & Bradstreet headquarters in New York.... Many of his limited-edition prints are sold out within days of being issued, after which they steadily increase in value. There are Stobart prints that sell for more than some contemporary maritime artists can command for an original.... Why? What is it about Stobart’s work that is so extraordinary? Part of it is his unique view of the world’s great harbors. When the 62-year-old artist stands on a wharf, in Philadelphia, San Francisco, Charleston, Boston, or New Orleans, he sees how the waterfront appeared in the glory days of sail. Through the prism of time, he visualizes the famous sailing ship Flying Cloud entering the port of San Francisco after her record passage from New York in 1851, or the David Crockett being towed up the East River. It is all there in prints like the recently released “Mystic Seaport,” which depicts the whaling bark Charles W. Morgan on a moonlit night in the 19th century, moored alongside Chubb’s Wharf in Mystic, Connecticut. On the wharf, splashes of yellow light spill out from gas lamps that illuminate the wood frame shops..Such is the sensation that soothes the eyes in all of the more than 80 limited- edition prints that have been released by Stobart during the past 13 years. They are sold in galleries he owns in Boston, Nantucket, Hilton Head Island, Pittsburgh, and Washington, D.C. as well as through 120 authorized dealers around the world. A Stobart print generally costs about $600 when first released, and many have increased in value—some now sell for $6,000. .
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See more books from our catalog: Art
Title: St. Louis the “Gateway to the West” in 1878 Signed
Description: Maritime Heritage Prints. 1978. Color print . Artist proof signed, apart from the 750 signed and numbered impressions. 23 x 34 inches sheet size..29 x 40 inches mat size. Double Matted and shipped flat.. This scene, which shows the busy levee in its heyday as the commercial metropolis of the upper Mississippi, is seen through the central iron span of the Eads Bridge..St. Louis, located on the Mississippi River below the mouth of the Missouri, guarded the entrance to the frontier. By reason of its geographical position, the city was destined from the beginning to become a major commercial center. Mountain men, fur trappers, explorers – they all gathered in St. Louis... The first trading post was set up at the foot of what is now Market Street in 1764 by Pierre LaClede and even before 1800, pioneers were beginning to establish themselves in the plains of the Mississippi opposite St. Louis. After the War 1812, immigrants steamed into the area; at that time, barges, flatboats, and keelboats were used for trade and transportation... The riverboat Independence initiated steam navigation on the Missouri River in May 1819; others soon followed, and by 1848, St. Louis claimed to be the third ranking port in the United States in terms on tonnage receipts. Only New York and New Orleans had more cargo traffic, but in the number of registered steamboats, St. Louis led every other city in the West... The Gold Rush of 1849 proved to be a boon for the Missouri steamboat captains and for the pilots, who were often paid as much as two thousand dollars a month. The year 1858 set a record for steamboat arrivals in St. Louis; almost four thousand of them, including packet boats, side-wheelers, freight boats, and stern-wheelers. The 1860’s were the golden years of steamboating when St. Louis became know as the “Queen Port of the Mississippi Valley.” Born in Leicester, England, John lived among the magnificent English countryside and inspiring landscapes, which were the subject of his original paintings. However, a visit to Liverpool, the most active port in England, captured his imagination, and he began to concentrate on the sea and ships as his subject matter... In the early 1960s, shipping companies commissioned John’s works and sponsored his overseas travels. In 1978, he became a founding member of the American Society of Marine Artists (ASMA), an esteemed and well-respected organization dedicated to advancing the field of marine art and maritime history. Many of our Salmagundi artist members are also members of ASMA..Stobart is widely considered to be the greatest maritime artist alive today. By any objective measure, he stands alone. His original oil paintings sell for more than twice what has ever been paid to any other living maritime artist. They can cost as much as $175,000 and are owned by people such as Charles Gulden of Gulden’s mustard fame, beer tycoon R.J. Shaeffer III, and Thomas Watson, son of the founder of International Business Machines. Stobart’s largest original, a five- by-nine-foot of the sailing ship Henry Hyde, hangs in Dun & Bradstreet headquarters in New York.... Many of his limited-edition prints are sold out within days of being issued, after which they steadily increase in value. There are Stobart prints that sell for more than some contemporary maritime artists can command for an original.... Why? What is it about Stobart’s work that is so extraordinary? Part of it is his unique view of the world’s great harbors. When the 62-year-old artist stands on a wharf, in Philadelphia, San Francisco, Charleston, Boston, or New Orleans, he sees how the waterfront appeared in the glory days of sail. Through the prism of time, he visualizes the famous sailing ship Flying Cloud entering the port of San Francisco after her record passage from New York in 1851, or the David Crockett being towed up the East River. It is all there in prints like the recently released “Mystic Seaport,” which depicts the whaling bark Charles W. Morgan on a moonlit night in the 19th century, moored alongside Chubb’s Wharf in Mystic, Connecticut. On the wharf, splashes of yellow light spill out from gas lamps that illuminate the wood frame shops..Such is the sensation that soothes the eyes in all of the more than 80 limited- edition prints that have been released by Stobart during the past 13 years. They are sold in galleries he owns in Boston, Nantucket, Hilton Head Island, Pittsburgh, and Washington, D.C. as well as through 120 authorized dealers around the world. A Stobart print generally costs about $600 when first released, and many have increased in value—some now sell for $6,000. .
Keywords:
Price: US$ 1200.00 Seller: Wittenborn Art Books
- Book number: 16-5983
- Book number: 16-5983
See more books from our catalog: Art