Henry Redmore (1820-1887) stands as a significant figure in the rich tradition of British marine painting. Born in the bustling port city of Kingston upon Hull, on England's East Coast, Redmore dedicated his artistic life to capturing the maritime spirit of his native region. His canvases vividly portray the ships, harbours, and coastal vistas of Yorkshire and the North Sea, earning him a lasting reputation, particularly within the esteemed Hull School of painters.
Redmore's work is deeply rooted in the environment he knew best. Hull, a major maritime hub throughout the 19th century, provided endless inspiration. The constant movement of vessels, from humble fishing cobles to larger merchant ships, navigating the Humber Estuary or braving the open sea, became the central theme of his art. He painted the lifeblood of his city and its connection to the wider world through its waterways.
Early Life and Artistic Formation
Born in 1820, Henry Redmore grew up immersed in the sights and sounds of a thriving port. While detailed records of his earliest life and formal training are somewhat scarce, it is understood that he likely received instruction at a local art school in Hull. This foundational training would have equipped him with the essential skills of drawing and oil painting, which he would later hone to remarkable effect in his specialized field of marine art.
From the outset, Redmore's artistic sensibilities were shaped by prominent traditions and influential figures. A significant acknowledged influence was the earlier Scottish marine painter, William Anderson (1757-1837). Anderson, known for his detailed ship portraits and coastal scenes, provided a model for the clarity and precision that Redmore would also pursue. Anderson's own work often looked back to 17th-century Dutch masters, establishing a lineage of influence.
Furthermore, Redmore's style demonstrates a clear affinity with the great Dutch marine painters of the Golden Age. Artists like Willem van de Velde the Elder and Willem van de Velde the Younger, renowned for their dramatic seascapes and meticulous renderings of ships, set a standard for marine art across Europe. Redmore absorbed this tradition, blending its emphasis on realism and atmospheric effect with a distinctly British sensibility, reflecting the specific light and conditions of the North Sea coast.
The Hull Context: A Maritime Centre and Art Scene
Kingston upon Hull's identity was, and remains, inextricably linked to the sea. As England's third-largest port during much of Redmore's lifetime, its docks teemed with activity related to trade, fishing, and shipbuilding. This maritime environment fostered a local appreciation for art that depicted the source of the city's prosperity and character. Redmore emerged as a leading figure in what became known as the Hull School of marine painters.
This informal group of artists, active primarily in the 19th century, shared a focus on the local coastline, the Humber Estuary, and the North Sea. They captured the specific types of vessels used in the region, the landmarks of the coast, and the often-dramatic weather conditions. While Redmore is often considered one of its finest exponents, the school included other notable talents, building upon the legacy of earlier Hull marine artists like John Ward (1798-1849).
Redmore's contribution was significant in elevating the depiction of the local maritime scene. He brought a high level of technical skill and atmospheric sensitivity to his subjects. His work resonated with local patrons who recognized the familiar settings and appreciated the accuracy of his ship portraits, while also appealing to a broader audience through the universal themes of man's relationship with the sea.
Artistic Style and Dominant Themes
Henry Redmore developed a distinctive style characterized by meticulous detail, a keen understanding of light and atmosphere, and a profound respect for the sea. His paintings are typically calm and carefully composed, often depicting scenes at dawn or dusk, allowing him to explore subtle effects of light on water and sky. While capable of portraying stormy seas, his preference often leaned towards tranquil harbour views or ships resting at anchor in calm waters.
His attention to detail, particularly in the rendering of ships, is remarkable. Masts, rigging, sails, and hull forms are depicted with an accuracy that reveals a deep knowledge of nautical construction and practice. This precision gives his work documentary value, offering insights into the types of vessels common along the East Coast during the Victorian era. He painted everything from small fishing boats ('pinks' or cobles) to larger square-rigged merchant ships and early steam vessels.
Redmore masterfully captured the unique atmospheric conditions of the Yorkshire coast. The interplay of light on water, the vastness of the sky, often filled with soft, diffused clouds, and the tangible sense of coastal air pervade his canvases. He achieved this through a refined technique, using subtle tonal gradations and carefully controlled colour palettes. His work successfully blends the detailed realism inherited from the Dutch tradition with a more romantic, atmospheric quality found in British landscape painting, influenced perhaps indirectly by masters like J.M.W. Turner.
Representative Works and Subjects
Throughout his long career, Redmore produced a substantial body of work, much of it focused on familiar locations. Several paintings stand out as representative of his style and preferred subjects. His depictions of shipping within the broad expanse of the Humber Estuary are numerous, capturing the waterway's importance as a conduit to the North Sea and the world beyond.
One notable example, often titled descriptively, is Shipping Becalmed off the Coast or similar variations like Hulk and Shipping Moored at Low Tide. These works showcase his skill in rendering calm waters, reflections, and the intricate details of various vessels lying at anchor, waiting for the tide or wind. The compositions are often low-horizoned, emphasizing the vastness of the sky and the quiet dignity of the ships.
A work specifically dated is Shipping off the Coast (1861). This title likely encompasses several paintings depicting vessels navigating the open waters near the Yorkshire coast. Such scenes allowed Redmore to explore the movement of ships under sail and the changing conditions of the sea and sky, demonstrating his versatility beyond tranquil harbour scenes.
Another significant piece is A Panoramic View of Scarborough South Bay (1876). Scarborough, a popular resort town and fishing port north of Hull, was another favoured location for Redmore. This painting captures the sweep of the bay, likely including the elegant Victorian spa buildings and the bustling harbour activity, showcasing his ability to handle complex panoramic compositions and integrate coastal architecture with maritime elements. Other common subjects included views of Whitby, another historic port famed for its dramatic abbey ruins and fishing fleet.
Career, Recognition, and Professional Life
Henry Redmore achieved considerable recognition during his lifetime, particularly in his home region. He was regarded as one of the foremost marine painters of the Hull School. His work found favour with local collectors who appreciated his faithful depictions of familiar scenes and vessels. His reputation extended beyond Yorkshire, evidenced by his exhibiting work in London.
A significant milestone was the inclusion of his work in the prestigious exhibition at the Royal Academy of Arts in London in 1868. Acceptance into the Royal Academy exhibition was a mark of national recognition for any British artist. While some accounts suggest Redmore may have found the London art scene less congenial than his familiar Hull environment – one source mentions a reported "disgust" with an exhibition experience, possibly referring to this or another London showing – the RA exhibition undeniably confirmed his standing.
Like many artists of the period, Redmore relied on dealers to promote and sell his work. He is known to have collaborated with James Eyre Jackson, a Hull-based dealer. This relationship would have been crucial for reaching patrons and ensuring a steady income, although the dynamics between artists and dealers in the 19th century were not always smooth. Redmore's career spanned nearly four decades, indicating a consistent output and sustained demand for his paintings.
His works continue to be sought after today. Auction records show consistent interest, with paintings achieving respectable prices, reflecting his established reputation. For instance, depictions of shipping in the Humber have fetched sums indicative of his solid standing in the British art market for traditional marine painting.
Contemporaries, Influences, and Artistic Circle
Henry Redmore worked within a vibrant context of British art, particularly in marine and landscape painting. His primary influence, as noted, was William Anderson, linking him to an earlier generation of marine specialists. He also clearly absorbed lessons from the 17th-century Dutch masters like the van de Veldes and perhaps Ludolf Bakhuizen, known for his dramatic seas.
Within Hull, he was a leading figure alongside other marine painters like Thomas Somerscales (though Somerscales later became more famous for South American scenes) and artists associated with the broader Hull School. His work shares the regional focus seen in John Ward's earlier paintings. He was also contemporary with John Atkinson Grimshaw, the Leeds-based painter famous for his atmospheric moonlit urban and dock scenes, who occasionally painted coastal views that resonate with the evocative qualities found in Redmore's work, albeit with a different stylistic focus.
On the national stage, Redmore practiced during the high point of Victorian marine painting. While perhaps not reaching the revolutionary heights of J.M.W. Turner (who had died in 1851 but whose influence lingered), Redmore's detailed realism aligns more closely with the popular and highly skilled marine painters of the mid-Victorian era, such as Clarkson Stanfield and Edward William Cooke. These artists also excelled in accurate ship portrayal and dramatic coastal scenery, often exhibiting alongside Redmore at venues like the Royal Academy. George Chambers Sr. was another notable marine painter slightly earlier than Redmore whose work focused on similar themes.
One of the most direct artistic relationships was with Henry Moore R.A. (1831-1895). It is crucial to distinguish this Henry Moore – the Royal Academician marine painter – from the famous 20th-century sculptor of the same name. Henry Moore, the painter, was born in York and became a highly successful artist known for his powerful depictions of the open sea. Sources widely regard him as a pupil or follower of Henry Redmore. Moore's early work, in particular, shows a strong stylistic resemblance to Redmore's in subject matter, palette, and atmosphere, suggesting a period of direct learning or significant influence before Moore developed his own more dynamic style focused on wave studies.
Later Life and Enduring Legacy
Henry Redmore continued to paint actively throughout his life, remaining based in Hull until his death in 1887. His dedication to his craft over nearly forty years resulted in a significant oeuvre that captured the essence of the East Yorkshire maritime world during a period of great change, witnessing the transition from sail to steam.
His legacy is twofold. Firstly, he stands as a key figure in British regional marine art and arguably the most accomplished painter of the Hull School. His technical skill, particularly in the accurate depiction of ships and the subtle rendering of light and water, remains highly respected. His work provides a benchmark for the quality achieved within this specific regional tradition.
Secondly, Redmore's paintings serve as valuable historical documents. They offer detailed visual records of the types of vessels that navigated the Humber and North Sea, the appearance of coastal towns like Hull, Scarborough, and Whitby in the mid-to-late 19th century, and the general atmosphere of maritime life during the Victorian era. His work captures a specific time and place with authenticity and artistic integrity.
Today, Henry Redmore's paintings are held in important public collections, most notably within his home city. The Ferens Art Gallery and the Hull Maritime Museum hold significant examples of his work, ensuring his contribution is preserved and accessible to the public. His paintings continue to be appreciated by collectors and enthusiasts of marine art for their quiet beauty, meticulous craftsmanship, and evocative portrayal of the sea.
Conclusion: A Respected Chronicler of the Sea
Henry Redmore occupies a respected place in the annals of British marine painting. While perhaps not a radical innovator on the national scale of Turner, his achievement lies in his mastery of the genre within his chosen region. He brought the traditions of Dutch and earlier British marine art to bear on the specific environment of the Yorkshire coast, creating works of enduring quality and appeal.
His paintings are more than just depictions of ships and water; they are sensitive interpretations of a way of life intrinsically linked to the sea. Through his detailed observation and refined technique, Redmore captured the atmosphere, light, and daily realities of the maritime world of 19th-century Hull and its surrounding coastline. As a leading light of the Hull School and a dedicated chronicler of the sea, Henry Redmore left behind a valuable artistic and historical legacy.
