Robert Salmon 1775-1844

Glen S. Foster, New York
(Sale:  Phillips, de Pury & Co., New York, May 21, 2002, lot 78)

Lincoln, Massachusetts, DeCordova Museum, Robert Salmon:  The First Major Exhibition, 1967, no. 80

A.S. Davidson, Marine Art and the Clyde, Wirral, England, 2001, p. 42
Alan Granby, A Yachtsman's Eye, Philadelphia, 2004, p. 196-197, plate IV.16

Canvas is lined. SURFACE: in fairly good condition; pressed craquelure throughout; whlie surface is compressed from relining, there is still good pigment and detail retention UNDER ULTRA VIOLET: small lines of lightly scattered repaints throughout the sky including two small circles of retouch (center-sky) and one "E" shaped line, possibly addressing a tear; a large "Y" shaped are of repaint to the left of the two far right boats (about 6 by 4 in.); some touches of repaint at bottom right quadrant from the oarsmen to the man with spyglass; 3 main figures have very slight touches of repaint; top edge with some touches addressing frame abrasion
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Robert Salmon was born in Whitehaven, the son of a jeweler, Francis Salmon.  Little is known about his life until he is recorded living in Liverpool in June, 1806. The artist remained there until April 1811, but eventually emigrated to America, arriving in Boston in 1829.  Salmon stayed until 1840, cultivating a successful practice as a marine painter.

An Act of Parliament created Pembroke Docks in southwest Wales in 1790 to establish the port at Milford.  Quaker whalers from Nantucket settled there in 1793 and also persuaded the Navy Board to establish a dockyard to build warships four years later.  Milford's rapid success was evident by the summer of 1802 when public celebrations were organized and Milford Haven was proclaimed by Lord Nelson as one of the country's finest harbors. In 1810, the Quakers returned to America and in 1814 the Navy Board transferred the dockyard to Paterchurch, renamed Pembroke Dock.

Painted circa 1839, Royal Naval Vessels Off Pembroke Dock, Milford Haven is a prime example of the artist's mature work and formed part of the celebrated collection of marine paintings owned by Glen S. Foster. In this work,  the artist shows the large natural harbor from a high vantage point near Neyland, looking southward. Salmon demonstrates his technical proficiency in the various kinds of ships depicted:  frigates, packets, brigs and rowboats are all represented in various stages of loading and unloading. A myriad of details enliven the scene.  Along the right margin, a schooner by a small jetty makes ready to set sail, its anchor ready for casting off, while a sailor edges his way towards the end of the jibboom. One of the figures in the foreground focuses his telescope on the busy scene to the left, drawing us into the elaborate composition.

The most striking aspect of the painting is the exquisite treatment of light and color eloquently described by Alan Granby in his 2004 book A Yachtsman's Eye, The Glen S. Foster Collection of Marine Paintings.

"The final British Salmon in the Foster Collection, Royal Vessel's off Pembroke Dock, Milford Haven composed after his move to America, evidences the artist harkening back to the familiar setting of Milford Haven, Wales. A Royal Dockyard was established at Milford Haven in 1790, but was shifted further upriver to Pembroke in1814. Salmon presents a glowing orange sunset spread across the horizon, blanketing the hills that fade into the distance behind the harbor town in a warm pink pallor, reflecting off the lightly rippling surface of the water with a clear, silvery intensity. Several vessels are pictured at anchor airing their sails, each in a different attitude to the sun, producing an impressive range of shadows and lending a reflective, transitional mood to the scene. The painting comes from Salmon's late period, after his successful transition to America which produced some of his finest works, and is a splendid example of his innovative treatment of light and color." (Granby, op cit., p. 196-197)