Author: Stobart, John (1929-2023)
Title: New Orleans. The “Robt. E. Lee” Leaving the Crescent City in 1880. 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 fand shipped flat.. The celebrated steam packet ROBERT E. LEE leaving the Crescent City in 1880 at the zenith of the steamboat era...Of all the steamboats that plied the Mississippi, the first Robert E. Lee built in 1866, was perhaps the most famous. An early riverman said one time, “You can't have 'steam kettles' racin' up and down the rivers for very long before the bettin' men come out. Steamboatin' in nothing else but getting' cotton to market first,- and that means racin'!”... The Natchez, one of six by the same name, built by Captain Tom Leathers, was designed for one purpose, to beat the first Robert E. Lee, supposedly the fastest steamboat on the Mississippi. For months, both the Robert E. Lee and the Natchez worked the St.Louis-New Orleans route, but on different days; then Captain Leathers tossed down the challenge: He would depart New Orleans at the same hour as the Robert E. Lee. The race was on! It was 1870, in the twilight years of the great riverboats. Captain Leathers did not alter his vessel, but the Robert E. Lee skipper, Captain John Cannon, took the race dead seriously, as if his reputation depended on the outcome of the contest. He stripped his vessel of all unnecessary weight: glass panels, doors, hoists, anchors, rigging, and anything else that would slow the boat down. He even tied the vessel to the shore with a single line, and at exactly 5:00 p.m. on the appointed day an axe cut the line, and the Robert E. Lee was away with a three minute edge over the Natchez... Up the Mississippi they plowed with a full head of steam and bets totaling over half a million dollars. The telegraph lines along the river flashed news of the race all over the United States.... 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: New Orleans. The “Robt. E. Lee” Leaving the Crescent City in 1880. 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 fand shipped flat.. The celebrated steam packet ROBERT E. LEE leaving the Crescent City in 1880 at the zenith of the steamboat era...Of all the steamboats that plied the Mississippi, the first Robert E. Lee built in 1866, was perhaps the most famous. An early riverman said one time, “You can't have 'steam kettles' racin' up and down the rivers for very long before the bettin' men come out. Steamboatin' in nothing else but getting' cotton to market first,- and that means racin'!”... The Natchez, one of six by the same name, built by Captain Tom Leathers, was designed for one purpose, to beat the first Robert E. Lee, supposedly the fastest steamboat on the Mississippi. For months, both the Robert E. Lee and the Natchez worked the St.Louis-New Orleans route, but on different days; then Captain Leathers tossed down the challenge: He would depart New Orleans at the same hour as the Robert E. Lee. The race was on! It was 1870, in the twilight years of the great riverboats. Captain Leathers did not alter his vessel, but the Robert E. Lee skipper, Captain John Cannon, took the race dead seriously, as if his reputation depended on the outcome of the contest. He stripped his vessel of all unnecessary weight: glass panels, doors, hoists, anchors, rigging, and anything else that would slow the boat down. He even tied the vessel to the shore with a single line, and at exactly 5:00 p.m. on the appointed day an axe cut the line, and the Robert E. Lee was away with a three minute edge over the Natchez... Up the Mississippi they plowed with a full head of steam and bets totaling over half a million dollars. The telegraph lines along the river flashed news of the race all over the United States.... 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 $6,000. .
Keywords:
Price: US$ 1000.00 Seller: Wittenborn Art Books
- Book number: 16-5984
- Book number: 16-5984
See more books from our catalog: Art