Robert Salmon 1775-1844

Topographically the composition of this picture relates closely to a similar picture by Robert Salmon looking southeast, now in the collection of the McLean Museum & Art Gallery, Greenock. This latter work is dated 1820 and focuses on a detailed portrayal of the Custom House which was completed the previous year in 1819.

In the present picture, the Custom House lies in the distance to the right, the observer looking directly into the entrance of the East Dock near the painting's left margin, just astern of the central main subject, an outward bound frigate.  With his sailor's eye for detail, Salmon indicates that it is tide time, as shown by the large cutter wearing a white ensign.  Still lying to her anchor, the cable of which is clearly visible behind the masthead of the small boat in the right foreground, the cutter has swung to the first of the ebb tide indicating that it is time to depart.  The mainsail is already set, and the topsail is being hoisted while the crewmember on the crosstrees checks against snags.  Shortly the cutter will weigh anchor and join the other craft heading past the Custom House, downstream and out to sea.  With such a faint zephyr to fill the sails, no effort will be spared in utilising every minute of the next six hours favourable ebb tide.

A reminder that the Clyde was the birthplace of steam propulsion in Europe, the artist shows a paddle steamer berthed alongside the 'steamer pier' in front of the Custom House.  Started in 1817 and completed in 1819, a most striking feature of this building is the appearance of a handsome dome incorporating on its summit what might be a circular lookout gallery.  The same applies to all known paintings of the completed building, either by Salmon, or other Clyde artists, such as William Clark (1803-83).  Enquiries confirm that the Custom House does not in fact have a dome, and never had one, although there is a central atrium lit by a glazed roof aperture.

Robert Salmon resided in Greenock from 1811 to 1822 and his evident interest in architectural subjects would witness every phase of the construction of the Custom House with great interest.  The likely explanation is that the dome did form part of the original design and that, at some point during the two years of construction, plans changed; a not infrequent occurrence now or then.  Meanwhile, Salmon's painting had been completed according to the original plan, and he presumably decided to perpetuate the original embellishment that never materialised.  As a corollary it follows that the painting can be dated to circa 1817-1819.

We are grateful to Sam Davidson for his help in cataloguing this lot.