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Catalog entry

inv. 241
Brig Off the Maine Coast
Brig off a Lee Shore; Merchant Brig under Reefed Topsails
1851
Oil on canvas
24 x 36 3/8 in. (61 x 92.4 cm)
Signed and dated lower right: FHL / 1851

Commentary

Close-hauled, on a starboard tack before an overtaking squall, a merchant brig passes dangerously close to a rocky headland. The place given in the painting’s title is conjectural—it could also be anywhere between Boston and Cape Ann—but the situation was all too real for vessels sailing New England’s rockbound coastal routes in the nineteenth century.

Lane’s understanding of ships and shiphandling under these conditions was impeccable, thanks no doubt to knowledge imparted by friends and clients in the merchant shipping business. The strength of the wind has been sufficient to have the topgallant sails sent down, yards and all, leaving the topgallant masts as bare poles. The topsails have been shortened, single reefed, and the reef tackles hooked to the bottom reef cringles (eyes) to further reduce sail area, when necessary. The main course has been furled and the spanker has been reefed, and with only the fore-staysail drawing, the outer jibs have been furled. The brig is properly snugged down and her shortened sail plan is balanced to make steering as easy as possible.

From what is visible of her deck arrangement, this brig was probably in the coastal packet trade. Her long quarter deck and cabin occupy all space abaft the main mast, indicating extensive accommodations for passengers. Studding sail (stu’ns’l) yards indicate a need to keep moving in light airs to meet a schedule. The square rig itself suggests long passages, coastal and offshore, between New England and southern ports, including the West Indies.

The light in this painting is particularly consistent with weather conditions and the illumination of the brig and its sails. While there are inconsistencies in these effects in some of Lane’s paintings (best explained as artistic license), here the play of light on rocks, waves, clouds, the brig’s hull, and her sails all come from a fixed source. Lane was one of the very few artists who could accurately depict light and shadows of sails drawing a breeze, and the wrinkles and folds of furled and reefed sails. Brig Off the Maine Coast depicts these effects in a way that would command seasoned sailors' attention and respect.

– Erik Ronnberg

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Subject Types:   Coastal Scene »   //   Marine Scene »
Landscape Types:   Rocky Shoreline »
Vessel Types:   Brig »
Animals & People:   Seabirds »
Objects:   Flotsam »

Historical Materials
Below is historical information related to the Lane work above. To see complete information on a subject on the Historical Materials page, click on the subject name (in bold and underlined).

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In general, brigs were small to medium size merchant vessels, generally ranging between 80 and 120 feet in hull length. Their hull forms ranged from sharp-ended (for greater speed; see Brig "Antelope" in Boston Harbor, 1863 (inv. 43)) to “kettle-bottom” (a contemporary term for full-ended with wide hull bottom for maximum cargo capacity; see Ships in Ice off Ten Pound Island, Gloucester, 1850s (inv. 44) and Boston Harbor, c. 1850 (inv. 48)). The former were widely used in the packet trade (coastwise or transoceanic); the latter were bulk-carriers designed for long passages on regular routes. (1) This rig was favored by Gloucester merchants in the Surinam Trade, which led to vessels so-rigged being referred to by recent historians as Surinam brigs (see Brig "Cadet" in Gloucester Harbor, late 1840s (inv. 13) and Gloucester Harbor (not published)). (2)

Brigs are two-masted square-rigged vessels which fall into three categories:

Full-rigged brigs—simply called brigs—were fully square-rigged on both masts. A sub-type—called a snow—had a trysail mast on the aft side of the lower main mast, on which the spanker, with its gaff and boom, was set. (3)

Brigantines were square-rigged on the fore mast, but set only square topsails on the main mast. This type was rarely seen in America in Lane’s time, but was still used for some naval vessels and European merchant vessels. The term is commonly misapplied to hermaphrodite brigs. (4)

Hermaphrodite brigs—more commonly called half-brigs by American seamen and merchants—were square-rigged only on the fore mast, the main mast being rigged with a spanker and a gaff-topsail. Staysails were often set between the fore and main masts, there being no gaff-rigged sail on the fore mast.

– Erik Ronnberg

References:

1. Howard I. Chapelle, The National Watercraft Collection (Washington, DC: Smithsonian Institution, 1960), 64–68.

2. Alfred Mansfield Brooks, Gloucester Recollected: A Familiar History (Gloucester, MA: Peter Smith, 1974), 62–74. A candid and witty view of Gloucester’s Surinam Trade, which employed brigs and barks.

3. R[ichard] H[enry] Dana, Jr., The Seaman's Friend (Boston: Thomas Groom & Co., 1841. 13th ed., 1873), 100 and Plate 4 and captions; and M.H. Parry, et al., Aak to Zumbra: A Dictionary of the World's Watercraft (Newport News, VA: The Mariners’ Museum, 2000), 95.

4. Parry, 95, see Definition 1.

artwork
Brig "Cadet" in Gloucester Harbor
Fitz Henry Lane
late 1840s
Oil on canvas
17 1/4 x 25 3/4 in.
Cape Ann Museum, Gloucester, Mass., Gift of Isabel Babson Lane, 1946 (1147.a)
Photo: Cape Ann Museum

Detail of brig "Cadet."

Also filed under: "Cadet" (Brig) »

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chart
Chart showing the voyage of the brig Cadet
c.1980
Painting on board
72 x 48 in.
Collection of Erik Ronnberg

Chart showing the voyage of the brig Cadet to Surinam and return, March 10–June 11, 1840.

Image: Erik Ronnberg

Also filed under: "Cadet" (Brig) »   //  Surinam Trade »

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illustration
Full-rigged Brig
Engraving in R. H. Dana, The Seaman's Friend, 13th ed. (Thomas Groom & Co. Publisher, 1873)

Detail of a full-rigged brig is square-rigged at both her masts. 

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artwork
Silhouettes of vessel types
Charles G. Davis
Book illustrations from "Shipping and Craft in Silhouette" by Charles G. Davis, Salem, Mass. Marine Research Society, 1929. Selected images
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Vessel ornamentation assumed two forms: carvings and color schemes. Carvings, or "ship carvings," as they are called by maritime scholars, are usually crafted in wood and painted or gilt. Many vessels were too small or their owners too frugal to permit carved embellishments, in which cases the enhancement of the vessel's color scheme was a practical alternative. This can be seen in many of the coastal vessels along the new England coast. Pinkies and Chebacco boats had handsome color schemes using only black and green with white sheer lines and limited use of red and yellow. Other combinations of inexpensive pigments were used to improve the simple looks of sloops and schooners in the packet trade, while small pleasure craft and pilot schooners enhanced their appearance in similar ways. Clipper ship owners, finding their vessels' appearance impressive without adding color, settled for unrelieved black hulls. Naval vessels as well preserved their formidable looks with black, relieved only with a white belt in way of the gunports. 

The more elaborate ship carvings can be classified in the following categories:

Billetheads: mounted on the bow, at the end of a simple gammon knee, or on the forward end of an elaborate stem-head, they can be scrolls of less or greater intricacy, or sometimes the heads of animals, eagles being the most common. Examples of a sea serpent's head, a pointing hand, and other animal heads have been found. (See Brig "Cadet" in Gloucester Harbor, late 1840s (inv. 13); Brig "Antelope" in Boston Harbor, 1863 (inv. 43); and Brig Off the Maine Coast, 1851 (inv. 241))

Figureheads: mounted on bows of larger vessels, often with elaborate stem joinerwork (trailboards and headboards with associated knees and rails). Usually these were full-length figures representing the ship's owner, a famous citizen, a mythological person or animal, or an eagle. (See Portrait of the "National Eagle", 1853 (inv. 35) (eagle); New York Harbor, c.1855 (inv. 46); The "Britannia" Entering Boston Harbor, 1848 (inv. 49) (female figures); The Ships "Winged Arrow" and "Southern Cross" in Boston Harbor, 1853 (inv. 54) (dragon and eagle); "Starlight" in Harbor, c.1855 (inv. 249) (dragon); and Steam demi bark Antelope, 615 tons, c.1855 (inv. 375) (antelope))

Trailboards: carved vines or scrollwork abaft the figurehead which trail aft along the stem head in a graceful descending arc, terminating at the hawse pipes. They are usually gilt and frequently ornamented with carved rosettes and other devices. (See Brig "Cadet" in Gloucester Harbor, late 1840s (inv. 13); Portrait of the "National Eagle", 1853 (inv. 35); Brig "Antelope" in Boston Harbor, 1863 (inv. 43);  New York Harbor, c.1855 (inv. 46); and The Ships "Winged Arrow" and "Southern Cross" in Boston Harbor, 1853 (inv. 54))

Headboards: boards mounted to headrails connecting the figurehead to the ship's mainrail at the catheads. While seldom given any decorative carvings, the vessel's nameboards were often mounted to them. (See Brig "Cadet" in Gloucester Harbor, late 1840s (inv. 13); Portrait of the "National Eagle", 1853 (inv. 35); Brig "Antelope" in Boston Harbor, 1863 (inv. 43); The Ships "Winged Arrow" and "Southern Cross" in Boston Harbor, 1853 (inv. 54); Clipper Ship "Southern Cross" in Boston Harbor, 1851 (inv. 253); and Mary Ann, 1846 (not published))

Catheads: Carved lion heads mounted on the outboard ends of the cathead knees. This term is so archaic that the knees and carvings are treated as one and the same, as in their use, i.e. "catting the anchor" (securing the anchor ring to the cathead). (See Brig "Antelope" in Boston Harbor, 1863 (inv. 43); and An American Frigate Hove-to Off the New England Coast (not published))

Quarterboards: Name boards mounted to the vessel's side near the stern, they usually had ornamental edge moldings and sometimes stars or simple scrollwork at each end of the name. (See Portrait of the "National Eagle", 1853 (inv. 35); Mary Ann, 1846 (not published); and Spitfire Entering Boston Harbor (not published))

Transom arches: arch-form panels fitted to the transom, often over gallery lights (windows) or other carvings. They usually have edge moldings, decorative scrollwork, and sometimes a bust or other carved figure at the center.

Other transom carvings: carved eagles, busts, scrollwork and coats of arms can occupy the space between the transom arch and the sternboard. If galleries are present, carved scrollwork may be fitted between the frames of the gallery lights. (See Boston Harbor, c. 1850 (inv. 48); Topsail Schooner, 1846 (not published) (eagle); Baltimore Harbor, 1850 (not published) (eagle); and Rough Sea, Schooners, c.1856 (not published) (eagle and flags))

Sternboard: often the bottom plank of the transom on which the vessel's name is carved or painted, seldom with decoration (stars or scrollwork). There is usually simple protective molding above and below the lettering.

Sideboards, or gangway boards: boards on either side of an entry way at main rail level on a large ship, usually between the main and mizen masts. They are carved and painted or (if of fine hardwood) varnished. Most commonly seen on larger vaval vessels, packet ships, and clipper ships.

– Erik Ronnberg

References:

1. Brewington, M. V., Shipcarvers of North America, (Barre, MA: Barre Publishing Co., 1962).

2. The American Neptune, Pictorial Supplement XIX, "The Art of the Shipcarver" (Salem, MA: The Peabody Museum, 1977).

3. Ship Figureheads (Boston: State Street Trust Co., n.d.).

4. Edouard A. Stackpole, Figureheads & Carvings at Mystic Seaport (Mystic, CT: The Marine Historical Association, Inc., 1964).  

Billet head
Unknown
1855
Carved wood with paint and gilt
12 x 22 x 8 in.
Cape Ann Museum. Gift of George W. Woodbury, 1936 (747)

This sea serpent billet head came from the schooner "Diadem" which was built in Essex, Massachusetts, in 1855 and owned by D. Elwell Woodbury and John H. Welsh of Gloucester.

Sea serpents were reportedly sighted here on Cape Ann from colonial times through the mid-nineteenth century. In 1817, more than 50 people, many of them prominent members of the community, reported seeing a serpent in the waters of Gloucester Harbor just off Pavilion Beach. So credible were the reports that the Linnaean Society of New England collected depositions from witnesses and published their findings in a small pamphlet entitled Report of a Committee of the Linnaean Society of New England relative to a Large Marine Animal Supposed to be A Serpent, seen Near Cape Ann, Massachusetts, in August 1817.

Also filed under: Objects »   //  Pavilion (Publick) Beach »

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publication
Ship Carvers of North America
M. V. Brewington
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Provenance (Information known to date; research ongoing.)

Private collection, Mass., until 1980

Exhibition History

1966 DeCordova Museum: DeCordova Museum, Lincoln, Massachusetts, Fitz Hugh Lane: The First Major Exhibition, no. 35, as Brig off a Lee Shore, dated 1852.
1988 National Gallery of Art: National Gallery of Art, Washington, District of Columbia, Paintings by Fitz Hugh Lane, no. 40, ill. in color, p. 87, as Merchant Brig under Reefed Topsails.
2001–02 Los Angeles County Museum of Art: Los Angeles County Museum of Art, Los Angeles, California, SEEING.
2013–14 National Museum of Korea: National Museum of Korea, Seoul, Art across America, ill. in color, pp. 86–87.

Published References

Portfolio 1962: no. 40, ill.
Wilmerding 1966a: Fitz Hugh Lane: The First Major Exhibition, no. 35, as Brig off a Lee Shore, dated 1852. ⇒ includes text
Taft 1968: "Fitz Hugh Lane," ill. in color, pp. 90–91.
Wilmerding 1988a: Paintings by Fitz Hugh Lane, no. 40, ills. in color, p. 60 (detail), 87, as Merchant Brig under Reefed Topsails, with date of 1863.
LACMA 2002: SEEING.
McAuliffe and Miller 2013: America: Painting a Nation, ill. in color, pp. 94–95.
National Museum of Korea 2013: Art across America (text in Korean and English), ill. in color, pp. 86–87.
Slifkin 2013: "Fitz Henry Lane and the Compromised Landscape, 1848–1865," fig. 8, p. 79, text, pp. 78, 81. ⇒ includes text

Related historical materials

Vessel Types
Maritime & Other Industries & Facilities
Citation: "Brig Off the Maine Coast, 1851 (inv. 241)." Fitz Henry Lane Online. Cape Ann Museum. http://fitzhenrylaneonline.org/catalog/entry.php?id=241 (accessed May 26, 2017).
Record last updated March 2, 2016. Please note that the information on this and all pages is periodically reviewed and subject to change.
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