Newly Acquired Items
Art & Illustrations
Watercolor of the J.M. WHITE painted in 1968 by Duane R. Light
Duane R. Light painted this watercolor of the steamboat J.M. WHITE in 1968.
The artist was raised in Hampton, Illinois on the Mississippi River and one of his grandfathers was a Mississippi River Steamboat Captain. The painting of the J.M. WHITE is probably the steamboat artwork mention in Duane Light's 2008 obituary. Light wrote a book on the art of watercolor, copies of which are available through amazon.
Renowned watercolor artist Duane Light, 84, dies
By BRIAN PORTER/Managing Editor
Feb 13, 2008
Duane Light, the man who created watercolor landscape and still-life scenes which are being remembered as some of the finest ever in his medium, died Monday. He was 84.
Light was raised in a railroad family in Hampton, Ill., along the Mississippi River. As a young boy, he exhibited great promise as an artist.
It was then that a life-long love for trains and boats began. His father worked for the Rock Island Railroad Line and his grandfather was a Mississippi River Steamboat Captain. Among his works are pictures depicting both the Rock Island Railroad Line and a Mississippi River steamboat.
His works were rediscovered during retirement in Mesquite when a little more than five years ago he moved to Christian Care Centers.
Tommy Long, a Mesquite police officer, was called to his apartment and noted a collection of artwork which he believed needed to be shared.
"That's how we were introduced to Duane Light," said Mike Templeton, director of the Mesquite Arts Center.
"He was obviously an accomplished artist. It is the light he captured in watercolor which is the most difficult to achieve in 2-dimensional work. He was extremely talented."
Templeton was so impressed with the work, he devoted a month-long showing in May of 2007 to the work of Light at the Arts Center.
"The exhibit was extraordinarily successful," he said. The artist and the man were interconnected, explained his son, Don. "I think they are inseparable," Don said. "He was an artist and that was his whole life."
His talents were blossoming and to advance his natural abilities Light studied at Augustana College in Rock Island, Ill., The New York Institute of Photography, Irving Shapiro's American Academy of Art in Chicago, and the University of California art school at La Jolla, Calif. He worked as a Military Illustrator at the Rock Island Arsenal before and after serving in World War II.
He, then, became the art director of an advertising agency. Later, he decided to become a freelance artist and illustrator. For 21 years, as owner and operator of a large design and advertising studio, Duane taught, as well as involved himself in, drawing, painting, photography and airbrush.
While still in the Midwest, Light was elected president of the Quad Cities Art Directors Club, member of The Art Directors' Club of Chicago, president of The Illinois Professional Photographer Organization and member of Professional Photographers of America.
He established his own watercolor art studio and gallery in California called "Studio West." He was shortly thereafter named official "West Coast Demonstrator" for Grumbacher Inc., of New York.
He served as president of Watercolor West, a prestigious, by invitation only, art society, and The San Diego Watercolor Society. He served as president and was on the board of directors for The La Jolla Art Association, and served on the board of directors of The San Diego Art Institute. Light was a member and vice-president of the Rancho Bernardo Art Association in San Diego.
He was a member of Big Canadian Artists and was appointed as "Official U.S. Coast Guard Artist" in 1985.
A lifelong endeavor for the artist was teaching watercolor technique in private, group and college level settings. Light studied and painted with some of the industry's top watercolor artists, like Robert Wood and Rex Brant.
"Seeing is the miracle by which we become acquainted with the infinite beauty that surrounds us," Light said. "Learning to see; to look; to appreciate this world of vision is the basis and reason for art."
He also published five instructional books titled "Watercolor", "On the Painting of Boats", "Felt Pen and Watercolor", "Drawing the Basics" and "Mixed Media".
His travels throughout the United States and Canada were often aimed at discovering new scenes which he later put into watercolor, but he also taught workshops and offered demonstrations.
Light's art has won many honors and is an integral part of many prestigious, private, and corporate collections all over the United States and abroad. His art has been exhibited nationally in numerous galleries and one-man shows.
Perhaps his work would have been forgotten—and never realized here in Mesquite n had he not moved to the city and developed new friendships.
"He had not painted in years before he moved here," said Estelle Schiebel, who shared a love for painting with Light. "He began to teach and do demos for us. It was my pleasure to be with him to learn more about fine art than I knew before. He was an inspiration to a lot of people."
View the exclusive line of prints, watercolor art instruction books he has written and illustrated, and a collection of stationery, imprinted with some of his favorite works at www.DuaneRLight.com.
The Mesquite Arts Center also has works by Duane Light available by visiting MesquiteArtsCenter.org and clicking on artists galleries.
Watercolor - 1984 by Duane R. Light
W. Foster Art Books (1984)ASIN: B007FC825G
A "must have" for watercolor beginners as well as experienced painters.
Helpful tips regarding artists' tools, use of color and techniques. The paintings range from uncomplicated to more complex and challenging.
eBay listing of an 1850 watercolor of Steamer J.R. HILL
Unusual watercolor painted in 1850 of a steamboat without a pilot house. Suppose the boat could have possibly been steered from that small-windowed structure with a conical roof at the stern on the top deck; or the pilot may have steered the boat from just inside the front of the cabin on the boiler deck. A relatively small boat, this may have run on bayous in Louisiana. Fred Way doesn't have a listing for a boat with this name in his Packet Directory.
Listed on eBay: Southern Watercolor of Paddlewheeler Merchant or Mail Carrier Ca 1850. Unsigned Auction ends on Feb 12, 2019, 1:26PM Listed at $1,779.0 or Best Offer
Artist: Sydney St. Clair Augustin Mulholland
RELICS ESTATE SALES & CONSIGNMENTS
53 Persimmon Street #103
Bluffton, South Carolina 29910
We are pleased to present an American School watercolor and ink on paper 7 3/4" x 10-1/4" circa 1850 of a paddle-wheel steam-boat "USM, J. R. Hill." (USM maybe an acronym for U. S. Mail/Merchant).
Overall dimensions are 19 7/8" x 17-3/4". Suspicions arise that the subject matter is probably Southern based on the types of trees which are predominant in the painting. The background suggests some rolling hills and elevations are present. The painting is free floating and housed in a hand wrapped linen mat with non-glare museum glass. It appears relatively free of foxing with an assessment of very good condition. The frame is antique and dates slightly earlier then watercolor. They are a nice-appropriate fit. Christy's appraisal in 2001 was for estate purposes with a value of $2,000.
This is previously owned, from an estate and may have evidence of age-appropriate use. To the best of our knowledge, there are no significant flaws and we consider the pictures part of our description. 365-3921 (12-6-18)
CAROWINDS Charlotte NC and the CAROLINA sternwheeler
Carowinds is a 400-acre amusement park, located adjacent to Interstate 77 in Charlotte, North Carolina. Although having an official North Carolina address, the park is located on the state line of the Carolinas, with a portion of the park also located in Fort Mill, South Carolina. carowindsearlyyears.com
The Carolina Sternwheeler was an impressive paddle boat that docked in Plantation Square for the CAROWINDS theme park's during its first 30 years.
This relaxing trip for up to 400 passengers would take you by each of the park's 7 themed areas. Music was provided on board by the Dixieland Band. The water in the lagoon was only 6 feet deep and the boat traveled on a rail beneath the water. The Sternwheeler was removed after the 2003 season and replace by of a new flying roller coaster named Nighthawk (formerly known as BORG Assimilator)
E. Pat Hall, a Charlotte industrial developer, stunned the Carolinas on October 10, 1969 when he announced his plans to build a $250 million theme park and resort development that would straddle the NC/SC border near Interstate 77. Seven themed areas would depict more than 200 years of colorful Carolina history!
The $30 million theme park would be designed by Randall Duell & Associates of Santa Monica, CA., the same folks who designed Disneyland. A series of artistic renditions were released to the public in 1969 and ground was finally broken on May 1, 1970. The General Contractor was Charles Cisne & Associates of Charlotte. Their plans were to have the park open in April 1972, but rainy weather caused numerous construction delays.
Carowinds finally opened it's gates to the public on a rainy, March 31, 1973 at 9:36am. About 3,100 people passed through the turnstiles on that rainy, opening day, much less than the 25,000 anticipated. Fortunately, the first season ended with an impressive 1.2 million visitors, a record it held for a number of years when the impending oil crisis substantially hurt the travel and tourism industry. And amid the multiple park ownerships & personnel changes, come the inevitable and often drastic transformations that are necessary to remain fresh and competitive. The old Carowinds today, is barely recognizable with the exception of a few original rides and buildings. All of the down home, local charm that made Carowinds that special place it was back then, are long gone.
Many of those who visited Carowinds in it's hey day may recall certain thrill rides like the Surfer, the Witchdoctor or White Lightnin'. Others will remember the exquisite Double-Decker, German-made carousel, the Carolina Sternwheeler, the Monorail or the 2 authentic Steam Engine trains. And others may simply remember the Cable Skyway, a spin on the Oaken Bucket or the trams that would take guests to the former Plantation House entrance.
"DEEP FOUR" No. 3 by R.V. Garber
Another curiosity from R.V. Gerber in prose along with a cartoon he drew of the steamboat LENA GAINSTER.
YARNS BY THE YARD by R.V. Garber
"DEEP FOUR" No. 3
Mrs. Captain Lena Gainster nonchalantly spat tobacco juice over the rail of the hurricane deck aboard the steamboat which bore her name, and with a ring of agony in her deep, gruff voice, spoke to the figure-head beside her, a small, thin, timid gentleman who was none other than her husband. "If this Depression keeps on," she grumbled, "I'm going to junk this mud scow and clear out!"
That was many, many years ago, down on the verdant banks of the Suwannee River, so the story goes, and where it seems, there was a business depression that was so bad it makes our present hard times seem like a boom. The packet boat business on Suwannee River at that period had been hit so terrible that most of the steamboat owners were forced to dispose of all their land property and live on their boats. The first winter was so hard that these very men and their families could not afford to buy coal, and thus, while they lived in one part of their steamboat, they gradually dismantled other parts, using the wood for kindling, so that by the time summer arrived all that was left of the boat was the pilot house stove which had consumed the rest of the craft during the cold weather.
Mrs. Captain Lena Gainster's staunch namesake was one of the few packet boats left on that river in the spring of 1832, and with her husband as chief engineer, she was trying her best to eke out a living in the clothes prop trade which had once been flourishing. But now people were not washing their clothes, since their clothes were worn out and they had no money to buy new ones. No wonder, then, that Mrs. Captain Lena Gainster was worried as well as angry as she paced up and down the hurricane deck, while her husband, unaffected by Depressions or anything else, fell asleep and snored contentedly in the warm summer sun.
One day, to add insult to injury, one of the greatest floods in the history of the Suwannee River destroyed everything that the Depression had not already ruined, and while on her last trip in the clothes prop trade, a most extraordinary thing happened to Mrs. Captain Lena Gainster and her husband, which gentleman was, at the time, on one of his many vacations. It seems that the speedy little side wheel packet was coming up stream battling the flooded waters with Mrs. Captain Lena Gainster at the wheel, when the woman-Captain suddenly spied her house floating down the river, and heard her husband's voice inside calling for help. "Why doesn't the idiot get out on the roof?" she thought as she pulled up along side the floating house and sent some roustabouts in through a second story window after her husband. The roustabouts reported that the reason the gentleman was not on the roof was because he had been taking a bath when the river suddenly carried the house away and left him helplessly stranded in the tub with all clothing and other means of covering gone.
There was only one way to save her husband. He must be extracted from the house, tub and all. Quickly Mrs. Captain Lena Gainster ordered the stage lowered onto the forecastle of the packet and uncoupled from the boom. Meanwhile other roustabouts were chopping a large hole in the roof of the house with fire axes. The boom and rigging were then hoisted over and the rigging lowered through the hole in the roof, where it was made fast to the bath tub inside the house. A few seconds later the derrick hoisted bath tub and chief engineer out of the rapidly sinking dwelling, and it must have been a strange sight to see the little packet steaming along with a bath tub hanging over her forecastle instead of a gangplank.
Upon the loss of her property Mrs. Captain Lena Gainster found herself bankrupt. Her patience exhausted, and in a fit of anger, the woman navigator suddenly decided to turn river bandit. As the story goes, she ran her packet up to the headwaters of the Suwannee River in the Okeefenokee Swamp in Georgia, tied it up, and left her husband to watch it until she returned.
"When I come back," she told him gruffly, "I'll have more treasures than Captain Kidd ever saw in his time. And another thing!" she added, shaking her large finger in the little man's sleepy face, "don't let any one come aboard this packet, because I intend to conceal all the treasure I get in the hull until I'm ready to steam this mud scow back to town with it."
And thus the little packet LENA GAINSTER came to be known as the "Ghost Ship." For years she creaked and groaned at her moorings in the dismal swamp. Curious townspeople who ventured within sight of her, looked at her with fear in their hearts, and if the slightest breeze caused even so much as a shutter to slam on the boat and break the solitude of the lonely swamp, these persons would take to their heels like frightened rabbits. Some of the more daring, however, came back with stories that, if at night you got close enough to the packet you could her her 'scape pipes breathing softly in the night air as if the boat was impatiently waiting for its lady-Captain to return and run it back to town with its vast treasure. Finally, an exceptionally brave chap who went aboard the boat late one night, explained that the breathing of the 'scape pipes had been mistaken for the irregular breathing of Mrs. Captain Lena Gainster's husband who had developed asthma. This chap told also that the engines of the little packet were freshly oiled and in readiness to transport the large treasure chests which the lady-Captain and bandit was housing in the spidery, bat-infested hull of the steamboat.
After she had left her husband to watch the little packet in the swamp, Mrs. Captain Lena Gainster, the lady bandit, stole a motor boat and barge and proceeded down the river. At night she would pull up beside a landed steamboat whose crew were asleep, and dismantle as much of the boat as was possible, loading the material on the barge. In this manner she finally got together enough material off of different boats to build her own packet, and this she did, naming the boat MISS FORTUNE after the Depression which was still on.
She then proceeded to tour up and down the Suwannee River in the MISS FORTUNE, robbing and plundering other boats and people, and hiding the loot in the hull of the LENA GAINSTER. Her method of plundering was most unusual. She would anchor the MISS FORTUNE in a shadowy cove of the river and wait for an approaching steamboat. As it neared the cove the woman bandit would lasso the unsuspected packet and pull the boat into the cove with the capstan of her own steamer before the surprised officers on watch could cut or break their boat loose from the line. Then, with the packet pulled into the cove, and with its officers and bewildered passengers held powerless at the point of a cannon from the deck of the "Miss Fortune," the woman bandit would help herself to the captured boat's possessions.
For many years Mrs. Captain Lena Gainster, the river bandit, indulged in this unlawful procedure until the old hull of the packet in the swamp was loaded to the guards with stolen treasure. Satisfied at length with what she had plundered, she decided to return to the LENA GAINSTER, run the boat back to its former port, repair it, and re-enter the clothes prop trade. She therefore deserted the "Miss Fortune"—her pirate ship—setting fire to it.
And thus, after many years of idleness, the little packet of the swamp got up steam and proceeded down the river. People who never believed in ghosts before did when they saw this long-forgotten packet come back as if from the grave. With Mrs. Captain Lena Gainster, now ex-bandit, at the wheel, and her husband at the throttle in the engine room, the heavily ladened steamboat returned to her long-deserted port.
Unfortunately, however, before the little steamboat landed, disaster overtook her, carrying her and her vast treasure to the bottom of the Suwannee River at its deepest point, a spot that never measured less than twenty-four feet in depth. It seems that the boat ran around on a herd of submerged alligators at this spot, ripping open a large portion of her rotten hull on their tough hides. Due to the fact that Mrs. Captain Lena Gainster's husband had fallen asleep at the throttle in the engine room, it was impossible to maneuver the disabled packet in any satisfactory way, and burdened with her heavy treasure chests, the boat sank in sixty seconds, carrying with her the woman skipper and the sleeping engineer.
All of which brings out the truth of that poetic phrase: "Cursed be the gold that gilds the straiten'd forehead of the fool!"
At any rate the treasure never saw daylight again. The little packet had settled on the bottom in such a way that to this day it has been impossible for divers to get at the chests.
And "way up and down the Suwannee River" they will tell you that what one poet said about the ocean goes for Old Man River too: "Roll on, thou deep and dark blue ocean, roll! Ten thousand fleets sweep over thee in vain; Man marks the earth with ruin—his control Stops with the shore."
"Bird's Eye?" : sidewheel steamboat about to plunge from the top of a huge waterfall
This is a detail from a color lithograph depicting a "surrealistic" concept: a big sidewheel steamboat that is about to plunge from the top of a huge waterfall on the scale of Niagara Falls. Look out below!
Listed on Chairish at $190.00 or best offer chairish.com
William Richard Crutchfield "Riverboat"
Dimensions: 12" x 19 3/8"
Lithograph printed in colors.
Matted and framed.
Signed and dated 1967, numbered 54/56 in pencil and blind stamped at lower right Purchased directly from the artist's gallery and housed in a prominent New York corporate modern and contemporary art collection, which was recently divested by a NY auction house.
annexgalleries.com William Richard Crutchfield was born in Indianopolis, Indiana on January 21, 1932.
Crutchfield studied at Herron School of Art, Indiana University in Indianapolis, receiving his Bachelors in Fine Art. He later received his Masters in Fine Art in 1960 at Tulane University in Louisiana.
Crutchfield worked at both Gemini and Tamarind print workshops, beginning in the 1960s, and produced 'Air Land Sea', a suite of 13 lithographs. It was complete during his second visit as a guest artist at Tamarind. In the portfolio, Crutchfield employed his characteristic style by using tusche applied with a pen to create the inventive subject matter. Crutchfield then had the printer apply various colors of ink to one roller to create the blended effect of the palette. He later applied his printmaking skills using screenprinting.
Crutchfield exhibited at the Minneapolis Institute of Art in 1967; Fort Lauderdale Museum of Arts, Florida in 1971; New Jersey State Museum, Trenton in 1971 and 1972; California Prints in 1972; Museum of Modern Art, New York in 1972; Dorsky Gallery, New York in 1972. He won awards: Mary Miliken award for travel in Europe; Herron School of Art, Indiana University in 1956; Fulbright scholar, State Art Academy in Hamburg, Germany in 1961.
William Crutchfield died in San Pedro, California on April 20, 2015.
Artist Crutchfield may have been inspired by the steamboats in the old American Bird's Eye view lithographs of rivertowns. The high angle perspective and even the style of the drawing is reminiscent of those views, so this could go on a Bird's Eye page.
The lithograph is also listed on "Chairish" for the same price etc. as eBay so I've changed the caption to reflect that and have also attached a file of the piece matted and framed. To the caption is added a biography of Crutchfield from the Annex Galleries site.
1844 surviving a sinking steamboat
Andy Thomas painted Huck and Jim on their raft with 2 steamboats on a moonlit stretch of the Mississippi. For a 2015 issue of TRUE WEST Andy painted a climactic scene during the sinking of the SHEPHERDESS in 1844. Attached is a composite with a smaller file of the full painting in vertical format and a larger file in horizontal format of a detail of the painting.
The Sinking Ship Survivor
Passenger Robert Bullock found the hero within him.
OCTOBER 9, 2015
TRUE WEST magazine
by TERRY A. DEL BENE
History in Art
By Illustrator Andy Thomas
I show the moment the boat hit the second snag and tossed Robert Bullock and others into the Mississippi River. The second snag caused the boat to momentarily list severely to its larboard side. The steamboat is modeled after artist Gary Lucy's painting of the recovered steamboat Arabia; it was of similar tonnage and close to the same time period as the Shepherdess (a contemporaneous newspaper engraving depicted the Shepherdessas a sidewheeler).
Author Terry A. Del Bene is a former Bureau of Land Management archaeologist and the author of Donner Party Cookbook and the novel 'Dem Bon'z.
THE STORY by Terry A. Del Bene:
The American West begins in St. Louis, Missouri. Many entering the frontier started their journeys by riding on steamboats to jumping-off areas in Missouri. Riverboat disasters were all too frequent.
On the frigid night of January 3, 1844, the Shepherdess was steaming upstream roughly three miles from St. Louis, its destination. Steamboats of the period had private accommodations for those able to pay, while general passengers were provided separate women's and gentlemen's cabins. Most of the roughly 70 passengers shared these two parlors on the first deck. By 11:00 p.m. many of the ladies and gents had retired for bed. In the men's parlor, a few gentlemen sat around a stove for warmth.
The air was filled with the sounds now familiar to the passengers—chugging of the engines, churning of water, water slapping against the bow, creaking of timbers, people coughing and the noises of livestock on the deck.
The peaceful night was suddenly rent by a loud scraping and the sounds of cracking timbers. The boat had hit a snag of timber in the river. After a brief pause, the air resounded with alarms, screaming children and the moaning of the stricken vessel as it broke into splinters.
The boat lurched and filled with freezing water, which reached the lower deck in less than two minutes. Captain Abram P. Howell entered the ladies' cabin and assured them they were safe. Afterwards, he was washed overboard while ringing an alarm bell. Three minutes after the crash, the boat was flooding to the upper decks, and the passengers were scrambling for safety by any available means.
Passenger Robert Bullock, of Maysville, Kentucky, immediately responded to the crash by going from stateroom to stateroom, looking for women and children to evacuate. He took his fellow passengers to the hurricane roof, which, by this time, was the only part of the Shepherdess above water. With many of the women in their night clothing, the samaritan surrendered his fine wool coat to one lady during his several rescue missions. Included among those he rescued was Col. Joseph H. Wood's "Ohio Fat Girl," an entertainer in a traveling "freak show." The eight-year-old girl weighed roughly 250 pounds.
When the Shepherdess, by this time powerless and drifting downriver, hit a second snag, the impact threw Bullock overboard. He swam the dark, freezing currents and found footing on the Illinois side. There, Bullock found two women who had been landed by a skiff, but were freezing. As the ladies drifted off to sleep, he feared that slumber would bring death to them, so he struggled to keep the suffering women awake. He helped the pair get to safety at Cahokia Bend.
Forty persons, including Capt. Howell and one of his 11 children, reportedly perished in the accident. Only the efforts of unsung heroes, like Bullock, kept the death toll from being higher.
The sunken ship put all of those who went into the water into a serious survival situation. After swimming to land, Robert Bullock found himself keeping two ladies alive while awaiting rescue. The nature of 19th-century clothing helped, as everyone was likely wearing woolens. Even when wet, such clothes retain some of their insulating properties.
Bullock waking his fellow castaways once on land might have been prudent. If they were hypothermic, keeping them active was good; otherwise, it could have had negative effects. His best option was to keep the survivors huddled together to share body heat.
Gil Walker STEAMBOAT Original Pen and Ink Drawing
Scan of an original pen and ink drawing acquired recently of a fanciful steamboat with exceedingly tall stacks that are emitting stylized smoke reminiscent of a fairy tale maiden's luxurious tresses. This scan has been posterized and the texture of the vellum paper that was used make it look like abstract art.
Drawn on vellum 5.50 x 6.30 inches & signed by Gil Walker (who is listed as Gilbert M. Walker on askART.com as having been born in 1927 and still an active artist in New York, known for his work in the historical genre.
Among his works were pen Original Pen and Ink Drawings, used as illustrations to accompany the article "The Siege of Wake Island: An eyewitness account of the World War II battle in the Pacific" written by John R. Burroughs American Heritage magazine. June 1959 Volume 10 Issue 4
The Japanese attack on an American military installation began simultaneously with the attack on Pearl Harbor in Hawaii. Footnote: "In the engagement of December 11, the Wake Island shore batteries sank one Japanese destroyer and badly damaged several other warships. Thirty miles southwest of the atoll, the Grumman fighters sank a second destroyer. It was the last time in the Pacific War that coast defense guns repelled an amphibious landing." Wake Island is 2,300 nautical miles southwest of Hawaii in the Pacific Ocean.
Original Pen and Ink Drawing with Boats from a St. Louis bakery/coffee shop place mat.
Attached original pen and ink sketch that was the second picture in triptych of St. Louis history on a place mat for Teutenberg's Bakery & Coffee Shop at 10012 Manchester in St. Louis. This sketch could have been either conceptual art for one of the murals in the Manchester restaurant or a sketch based on the mural of the Eads Bridge and boats that could be glimpsed in a tiny detail of a photo that was taken there.
Boats here are cartoonized. Under the bridge are a sidewheel packet boat a towboat that's pushing barges. In the foreground are a wharf boat and a showboat possibly meant to represent the GOLDENROD that was at Laclede's Landing for many years then was moved to St. Charles for a while and finally was retired to a desolate location on the Illinois River where it was permitted to deteriorate until it was beyond restoration and in due course it has probably been dismantled by now.
Paddle Steamer Mark Twain by Richard Hayley Lever "Art is nothing but having a good time."
Here is a wonderful painting by Hayley Lever just discovered on wahooart.com during a Google search . . . Lever loved maritime subjects and painted boats and ships in seaports and rivers in many locales here and abroad.
Richard Hayley Lever (Born in Bowden Australia in 1875 - Died in New York City in 1958)
"Paddle Steamer Mark Twain on the Mississippi River with Eads Bridge at St. Louis, Missouri" Copyright WahooArt.com
excerpted from wikipedia article
In 1911, Ernest Lawson, an Impressionist painter, persuaded Hayley Lever to move to United States, saying he would have greater success there. Lever arrived in New York City in 1912 and painted views of the Hudson River, Times Square and Central Park. Upon discovering the American east coast, he painted in Gloucester, Massachusetts for several summers and at Marblehead, Massachusetts. Lawson and Lever developed spontaneous, bold painting styles, and Lever was accepted into Lawson's circle of friends: Robert Henri, William Glackens, John Sloan and George Bellows. He exhibited with this group regularly, but eventually left New York to settle in Massachusetts. From 1919 to 1931, Lever taught art classes at the Art Students League of New York where he maintained a Gloucester studio and often traveled to paint on Nantucket and Martha's Vineyard. He offered this message to his students:
"Art is the re-creation of mood in line, form and color. If I were confined to my own back yard for the rest of my life, I'd still have more pictures in my mind than I would have time to paint. Art is nothing but having a good time."
River Boat Fishing Disney Dad SVG Eps Dxf Png Shirt Art Riverboat
On ETSY from dealer "Disney Dad" a silhouette of a single stack sternwheeler Black over white with text below it "CAN I FISH FROM THE RIVERBOAT?" a download can be purchased from the dealer and used on T-shirts etc. Attached is a white over blue version of the graphic
River Boat Fishing
SVG Eps Dxf Png
Shirt Art Riverboat
River Boat Fishing Disney Dad SVG Eps Dxf Png Shirt Art Riverboat $2.99
Craft type: Card making & stationery, Collage, Scrapbooking
Instant Digital Download: 1 ZIP included
Made to order
Full Moon in the "Magic Lantern" glass slide "wooding up" a sidewheel steamboat at a landing
DIXIE 4. River steamboat - Loading cotton by night.
40 Nassau Street, N.Y.
image area -2.75 x 2.90 inches
size of mount - 3.20 x 4.00 inches
Scanned from an original "Magic Lantern" glass slide that appears to have been hand tinted. A huge sidewheel steamboat looms against the night sky complete with full moon at a landing.
On the far left, the bottom of the sidewheel can be glimpsed below the paddle box and in the foreground on the left, flames; sparks and smoke from a wood fire illuminates the crew of roustabouts who are at work on the landing. Five of them carry firewood to load aboard the steamboat while five more men approach to assist them. Another pair of roustabouts wrestle a cotton bale in the foreground.
Apparently Optician McAllister manufactured Magic Lantern slides as a sideline from his primary specialty of making lenses for eye glasses.
excerpted from wikipedia:
Nassau Street is in the Financial District of New York City. It is located near Pace University and City Hall. It starts at Wall Street and runs north to Spruce Street at the foot of the Brooklyn Bridge, located one block east of Broadway and east of Park Row, in the borough of Manhattan. Nassau Street was originally called Kip Street — after an early Dutch settler family — but was subsequently named in honor of the royal family of the Netherlands, the House of Orange-Nassau. It was named some time before William of Nassau, the Dutch prince who became King William III of England, so that is not the origin of the name, despite how easily it could be mistaken as such. Nassau Street once housed many of the city's newspapers.
With the exception of images credited to public institutions,
everything on this page is from a private collection.
Please contact Steamboats.com for permission for commercial use.*