Montague Dawson R.S.M.A., F.R.S.A.

Frost & Reed,
with Stacy-Marks by 1967 from whom purchased by the father of the present owner,
Thence by descent 

L.G.G.Ramsey, Montague Dawson, p.29, illustrated (plate 16)

STRUCTURE Original canvas. PAINT SURFACE The paint surface is in generally sound condition. There are some lines of craquelure, notably in the sky; this is typical of a work of this age and is stable. ULTRAVIOLET UV light reveals a light even varnish but no sign of restoration. FRAME held in a pale plaster frame in good condition. CONCLUSION This work is in excellent original condition and is highly recommended.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present painting is a superb example of Dawson's historical works.  An English naval cutter of the eigtheenth century flies every inch of sail in a bid to make all possible haste to her destination.  Such craft would carry vital dispatches and intelligence to the Admiralty or to other squadrons of the fleet.  They were extremely fast and carried only light armament, twelve small guns.  Despite their modest firepower they were tactically vital and often served as scouts for the main fleet.  Navigating the ocean swell in such modest vessels demanded seamanship of the highest quality.  During peace time they would be employed to chase and capture smugglers. 

Although it is undated, the work is likely to have been painted in the 1960s when Dawson was producing a number of historical works including the first of a number of versions of The Battle of Trafalgar.  Although the subject is a lowly cutter, the scale of canvas is similar to those on which Dawson paints such famous vessels as HMS Victory, Cutty Sark, Thermopylae and Ariel. 

Dawson felt transported to the period he was bringing to life; In an interview with journalist Edward Matthews he said,
'My painting gives me a tremendous sense of exhilaration almost as if I'm there on the ship itself.  I'm living in a world of fantasy and the brush takes charge...I only look on the ship as part of the whole composition.  I like to get a broad sky effect as well.  I am after atmosphere in the elements.  To get the painting to live is the most difficult part.  You have to respect your subject, be almost frightened by it.  There's nothing like the boil and the swell of rough sea.'