catalog text
HENRY SCOTT R.S.A.
British, 1911-2005
"Moonglow - Foochow"
Oil on panel | signed lower left | titled on reverse of panel
ref. 502OLW08X
18 5/16" H x 24 3/8" W x 1 3/4" D [frame]
14 1/8" H x 20 1/4" W [panel]
Provenance:
- With MacConnal-Mason & Son, Ltd.
Essay
After the Treaty of Nanking ended the First Opium War in 1842, several Chinese ports, including Foochow, were opened to foreign trade. By the 1860s, Foochow had become a leading port for tea clippers, overtaking earlier hubs like Whampoa and Shanghai. Its location in the heart of China’s black tea-producing region meant that ships could access the season’s fresh tea supply earlier than at other ports. This gave Foochow a strategic edge in the race to deliver tea to England.
As the demand for tea grew, Foochow's large anchorage provided ample space for the clippers that dominated the China trade. Each season, the harbor filled with vessels loading their cargoes for the long voyage home. Steam tugs were commonly used to tow the ships over the bar and into the estuary, ensuring a swift departure once their holds were full. At the height of the tea trade, Foochow’s harbor was among the busiest in the world, bustling with activity as ships competed to be the first to return to England with the prized cargo.
Initially, Western ships traded through Canton, Whampoa, and Macao. These ports were soon overshadowed by Shanghai’s growing influence, but it was Foochow that ultimately became the preferred choice for tea exporters. With its advantageous location and well-organized infrastructure, the port became synonymous with the tea trade, playing a central role in one of the most iconic maritime competitions of the 19th century.
The tea trade was a driving force in maritime commerce during the 19th century, leading to the development of faster and more efficient sailing vessels known as tea clippers. These ships competed in annual races to be the first to deliver the new tea crop to England, a competition that captivated public attention and spurred advancements in ship design. One such example is the Great Tea Race of 1866 where clippers like Ariel, Taeping, and Serica raced from Foochow to London.
In "Moonglow – Foochow," Scott captures the essence of the port of Foochow, blending his careful attention to detail with atmospheric midnight lighting. The hidden moon's silver glow pierces the clouds and scatters its light across the relatively still waters of the estuary while smaller local junks and vessels move quietly through the port.
The Port of Foochow was a scene he would revisit many times in his career, painting it during daylight, early morning and night in various sizes. A daylight example of the same size as this canvas was offered at Christie's, London, 31 October 2007 as lot 102 (where it achieved 7,500 GBP, approximately $ 15,375 USD at the prevailing 2.05 conversion at time of sale). He also executed numerous larger versions of this port, including a midnight scene offered at Sotheby's, New York in 2012 (sale N08826, lot 618, achieved $ 37,500 USD). His morning view of Foochow with a silver mist achieved $ 84,000 USD when it was offered at Sotheby's, New York in 2006 (sale N08286, lot 57) and his early morning view of Foochow featuring the Thermopylea achieved $ 29,800 USD at Sotheby's, New York the following year in 2007 (sale N08369, lot 215).
Condition:
Some minor discoloration to varnish, would benefit from being cleaned eventually. Spots in the uppermost center cloud of matte paint, perhaps overpaint or where varnish needs to be reapplied. The painting presents brilliantly and it is always preferred to hold off on cleaning until absolutely necessary, but we can certainly have the painting cleaned and resealed upon request. Housed in the original giltwood frame with minor touchups and inpainting. A very fine presentation, ready to place.
Biography
Henry Scott, R.S.A (British, 1911–2005)
Henry Scott was a British marine painter specializing in maritime and coastal subjects, particularly ship portraits of British and American clippers. His work is often favorably compared to that of Montague Dawson, with whom he shared a similar approach in capturing the movement and energy of the sea. His compositions frequently depict vessels under full sail, with churning waves and dynamic skies that enhance the sense of motion. His meticulous attention to atmospheric conditions and his distinctive palette made his paintings sought after by collectors and shipowners alike.
Scott exhibited widely throughout his career. He was closely associated with the Royal Society of Marine Artists, displaying his works there from 1950 to 1966. His paintings were also shown at the Royal Academy, the Royal Exchange, and the Guildhall in London. Internationally, his works were exhibited at the St. Malo Museum in France and Madison Square in New York. His contributions to the field of marine art were further recognized through his election as a Fellow of the Royal Society of Arts (F.R.S.A.).
A significant portion of Scott’s output consisted of commissioned works for private patrons. Among his most notable commissions was Morning Cloud (1970), depicting the yacht owned and skippered by then-Prime Minister Edward Heath. This work in particular perfectly showcased Scott’s ability to render vessels with remarkable accuracy while maintaining a sense of vitality and movement. He was honored with a life membership in the International Association of Master Mariners, known as the "Cape Horners."