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William Bradford Paintings and Biography |
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William Bradford BiographyA painter of marine and Arctic scenes, William Bradford arrived in London in May 1871 with two paintings commissioned by James Ashbury (1834--1895), an English yachtsman with a large fortune. Ashbury had come to New York City the year before, entering his schooner yacht Cambria in a match race across the Atlantic Ocean against the schooner Dauntless, owned by the flamboyant proprietor of the New York Herald, James Gordon Bennett (1841--1918). From a starting line off Gaunt Head, Ireland, Cambria crossed the finish line off Sandy Hook, New Jersey, seventeen days later and a scant hour and seventeen minutes ahead of Dauntless. Ashbury did not have long to savor his victory, for on August 8, 1870, William Bradford painter met defeat in the race be had crossed the ocean for--to reclaim for Britain the America's Cup. (1) While in New York City, Ashbury met Bradford, probably at his rooms in the Tenth Street Studio Building, where William Bradford ordered the paintings and encouraged him to bring them to London when completed. |
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Although Ashbury's
commission provided an immediate incentive
for going to England, William Bradford needed no
reminder of the success achieved by his fellow artist-explorers,
Frederic
Edwin Church (1826-1900) and
Albert
Bierstadt (1830-1902), who customarily sent
their major paintings to London for exhibition
and potential sale. William Bradford painter had gone, as
they had, to one of the Continent's remote
frontiers, finding on the Labrador and
Arctic coasts the sort of subjects that
earned him fame as the painter of the polar
region. In Britain, a nation long
preoccupied with the exploration of the
Arctic, William Bradford might well find patrons among the
newly emerging class of merchants and
manufacturers who had paid large prices for
paintings by Church and Bierstadt. |
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| Now insolvent and free to paint, William Bradford set out to become an artist at the age of twenty-nine. At the same time, in the same city, Bierstadt, seven years younger, embarked on the same career. The two were friends, and their careers and approaches to painting were to have much in common in the years ahead. While Bierstadt soon left for study in Germany, William Bradford painter found as a mentor Albert Van Beest (1820-1860), a recent emigrant from the Netherlands trained in the tradition of Dutch marine painting. By the end of the decade, the styles of Bierstadt and Bradford had matured, and each set out to discover subjects for their ar t. Bierstadt headed for the West in 1859, and two years later William Bradford sailed north on the first of his six voyages to the coast of Labrador. |
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Two members of his party were professional
photographers, John L Dunmore and George P. Critcherson, who, with their cumbersome
wet-plate cameras, took an estimated four
hundred photographs of ice formations (see
Pis. VI, vm and IX), coastal scenes, ancient
Norse ruins, Inuits, Danish officials, and
polar bears. Among the early photographs of
the Arctic, theirs became as important as
William Bradford paintings in disclosing the nature of the polar world. Other visitors to the exhibition included members of the nobility, Arctic explorers, naval officers, presidents of scientific societies, and the most famous poet of the Victorian age, Alfred, Lord Tennyson (1809-1892). Ashbury came not only to view the larger of William Bradford paintings, An Arctic Summer: Boring through the Pack in Melville Bay (P1. II), hut also to commission a new Arctic scene by Bradford, "say ten feet long," with polar bears by the animal painter William Holbrook Beard (1824-1900). |
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Several days later, Queen Victoria viewed the William Bradford paintings left for her inspection and ordered a painting, perhaps indicating a preference based on one or another of the cabinet paintings. The painting that resulted, The Panther in Melville Bay (Pl. VII) was the first royal commission awarded to an American artist since the time of George III (r. 1760-1820) and Benjamin West (1738-1820). (10) The queen also subscribed for the photographs, which had the effect of transforming the proposed "album" into what became an elaborate oversized volume bound in tooled morocco with gilt designs (Pl. X), enclosing 141 tipped-in albumen photographs and a narrative text by William Bradford painter. Whether at Osborne House or later that season, Princess Louise also commissioned a painting, her choice being a View of the Sermitsialik Glacier (Pl. XII), based on a photograph (Pl. VIII) taken during the voyage of the Panther. | ||||||
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