Samuel Walters

STRUCTURE Original canvas in sound condition PAINT SURFACE The paint surface is in good, clean condition, ready to hang. ULTRAVIOLET UV light reveals scattered flecks of infilling to the craquelure, mainly in the sky; this has been professionally executed. FRAME Held in a fine gilt frame in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present work is a fine example of a series of paintings, executed in the 1830s, based around the mouth of the river Mersey.  The ship flies the Blue Peter signalling all hands to be on board as she is ready to depart and will get under way immediately; witness the departing cutter just off her starboard bow, which has probably put a last minute passenger or mail on board.  The Perch Rock lighthouse and fort is visible to the right of the composition, beneath the ship's bowsprit.  Further to the right, a number of vessels negotiate the Rock Channel, and a large conglomeration of shipping, in the mouth of the estuary itself, evoke a strong sense of the weight of traffic during this period. 

By 1837, the year of the present work, the London born Walters was well established in Liverpool.  He was married in 1835 and had his own studio, although he retained a a workspace in the family firm of carvers and gilders based in Berry Street.   He had been studying intermittently at the Liverpool Academy since 1831 and in September 1837 was accepted as an associate.   Unlike his more mannered and distinctive mature style, the present work is freer and less formal, with the influence of artists such as William John  Huggins (1781-1845) and Clarkson Stanfield (1793-1867) clearly in evidence.