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We are excited to offer you the museum quality fine art posters of internationally acclaimed maritime artist Charles Vickery (1913 -1998). This is the first publishing of Mr. Vickery's work in over 10 years. In Mr Vickery's career, over 100 limited edition prints have been published of his works, some reaching as high as $4,800 in the after market. The reason for now issuing these beautiful open edition posters is to make his artwork more affordable to the masses.

These posters are made directly from originals that are in private collections and have never been published before in any form.

 

Picture at the bottom of the posters

Charles Vickery was considered one of the finest marine artists of the twentieth century, on a par with Montague Dawson and John Stobert. His specialty of capturing the many moods and emotions of the sea was indeed a unique talent not many could master. These first six posters in a continuing series display a wide cross section of his seascapes, harbor scenes and tall ships.

Charles Vickery studied at the Chicago Art Institute and the American Academy of Fine Arts. He has exhibited throughout the world, including the Royal Academy in London, The Norwegian Embassy, Kennedy Galleries, Rockport Art Association, Union League Club, Chicago Galleries Association, Mystic Seaport Galleries, Palette and Chisel Academy, Findley Galleries and many more. He has been awarded numerous awards and prizes and is in "Who's Who of American Art". He was also a member of the prestigious American Society of Marine Artists (ASMA). He has been published by Frost and Reed, W. Russell Burton, Clipper Ship Heritage Prints, and the Kensington Group.

Available now as stand alone posters for $30 or framed and matted pieces for $180, these 'starter Vickerys' as we like to call them, give you a budget-minded opportunity to share in the beauty of his work.

 

 

   The Posters
Poster 4001 picture
Poster 4001
The Joseph Conrad
24" X 30"

This is from an original 24 X 36 oil on canvas depicting the New England whaling ship "Joseph Conrad" as she plies through the seas in fair weather. This whaler still exists and can be seen and toured at Mystic Seaport in Mystic Connecticut.

 


Poster 4002 picture
Poster 4002
Gloucester Harbor
24" X 30"

A classic New England scene of Gloucester harbor, which is on the Massachusetts coast north of Boston. Mr. Vickery spent many summers sketching and painting this historic whaling town. This is from the original 30 X 40 oil.

 


Poster 4003 picture
Poster 4003
Tempestuous Surf
24" X 30"

Mr. Vickery was often inspired by the New England coastline, especially Bass Rocks near Gloucester. This beauty shows in fine detail the mastery and command he had depicting where sky, sea and land met.

 


Poster 4004 picture
Poster 4004
Early Dawn of an Ending Era
24" X 30"

A rare and unique depiction of the waning days of the great sailing era. This original 24 X 30 oil was based on a poem that inspired Mr. Vickery to create this masterpiece. Incidently, the ships in this painting were a compilation of the wooden ship models he used in his studio. They are the Otego, Sea Witch, Galilee, and the Harriet MacGregor.

 


Poster 4005 picture
Poster 4005
Ocean Moon
24" X 30"

Very few artists can catch the night time moods as shown in this beauty, where clouds and moon interact with the sea. From an original 24 X 36 oil.

 


Poster 4006 picture
Poster 4006
Christian Radich
24" X 30"

This is a depiction of the famous Norwegian training ship that still sails the oceans today. Many a young cadet are trained as to the traditional methods and skills needed to carry on the great Scandinavian maritime heritage.

 

 

 

   The Artist
Biographical notes:

Charles Vickery grew up in Western Springs, Illinois and studied at the Art Institute of Chicago and the American Academy of Fine Art. He traveled widely, capturing the many moods of sea and sky with a technique that is direct and alla prima in style. Vickery is noted for his ability to work from his photographic memory, dazzling audiences with demonstrations painted from his recollections of the sea in all its changeability. He researched sailing vessels of all styles, painting directly from historical ships at the famous harbor in Mystic, CT and other locations. He did not use photography as a reference, preferring instead to work directly from the subject. Vickery felt that photography fails to capture all the subtle colors and value changes that a realistic rendition of the sea requires. His paintings of the sea and historic ships are on exhibit in numerous galleries, museums and embassies around the globe, notably the Mystic Seaport, Mystic, CT; the Rockport Art Association, Rockport, MA; the Brigantine Gallery, LaGrange Park, IL; the Clipper Ship Gallery, LaGrange IL, the W. Russell Buttons Gallery, Douglas, MI., Palette and Chisel Academy, Findley Galleries and many more.He is represented also by Frost and Reed LTD, London, England.

I. I. Percival, director of the Omell Gallery in London, said that Mr. Vickery is "most definitely the best marine artist to come out of the United States." He is recognized as the "finest seascape artist of our time" by the Los Angeles Maritime Museum.

 

 

Awards:

Gold Medal, Palette and Chisel Academy of Fine Art, Chicago, IL
Union League Club Purchase Award, Union League Club, Chicago, IL
Chicago Water Tower Competition Purchase Award
Adolph Heinze Award
Harriet Bitterly Memorial Award, Palette and Chisel Academy of Fine Art
Fred Butler Memorial
Stanley N. Philips Memorial
The Harriet Preston prize award. Rockport, MA
The LaSalle Street Golden Mile Award, Chicago, IL
The Gortons of Gloucester Waters of the World Prize, North Shore Art Assn., Gloucester, MA
The Art for the Parks Award
Mr. Vickery was a member of the American Society of Marine Artists and the Oil Painters of America.

 

 

In his words:

"I became interested in seascapes right out of high school. I would haunt the galleries, marvel at the success of the pros - Frederick Waugh, Montague Dawson."
"Lake Michigan was a big source of instruction. Then I went to the East Coast and learned the same laws are in effect in the Atlantic. In my early 50's, I took a freighter trip to as far as Turkey. I got a lot of wild, stormy effects of the ocean."

"Many of the 19th century artists were a little too stiff. No sense of water. I don't know what marked the beginning of reality...maybe Winslow Homer."
"You have to greet the sea with love, and it will give it back to you."

"All the colors of the water come from the sky,because ever color of the sky is reflected in that water. And the sky has all the colors of the rainbow in it. There is a complete range of color night to day."
"On the calm days, a body of water pretty much takes on the color of the sky. But there are the inevitable shifting color values even on a calm day."
"Sometimes light goes beyond the range of pigment. Then you become thankful for what you've got. You work within the limits, you get more excitement."
"There's a difference between wind-blown water and inert water. Wind-blown water has the dusty foam crests. That's beautiful. It gets going wild, seems to reject the color of the sky. Night adds beauty to the waves. Then the sky starts re-entering the ocean. And then the wind turning a wave can change the color. A cat's paw, any gust of wind that pushes across the surface, can darken it just where the wind passes, then dies down."
"Movement is the thing. I know the wind can create sudden drama, in as much time as it takes to blink your eyes."
"The rougher the water gets, the more independent of the sky it becomes. Then it gets it's own color, but it is still receptive to certain parts of the sky."

"In the sea, there's eternal depth. Gad, the spookiness of it."
"I like to do water and rocks and no ships sometimes. It all depends. The laws of push and recoil--they're absolutely perfect and reliable. All the old truths and values repeated, but every time you go down, [to the sea], there are new nuances."

 

 

Excerpts from the Chicago Tribune Sunday July 20, 1986:

Vickery was born in Hinsdale Illinois, but as a youngster lived at White Bear Lake, north of St.Paul, Minnesota. "It was at the magic time of 7 to 10 years old."
"I became interested in seascapes right out of high school, I would haunt the galleries, marvel at the success of the pros--Frederick Waugh, an American from Nantucket; Montague Dawson, a terrific English painter. I'd study their techniques and colors."

In the early 20s he attended the Art Institute of Chicago, and the American Academy of Art in Chicago. "Some of the mechanics seemed kind of useless. You've got to figure things out for yourself. You get rebellious," he says' "I figured I'd better go out and see that stuff, real life."
"I went down to the Indiana dunes. Lake Michigan was a big source of instruction. Sea anatomy and light effects were learned from the lake. Then I want out to the East Coast and learned the same laws are in effect in the Atlantic."

In his early 50s, he says, "I went out on a freighter trip in the winter. I got as far as Turkey. I got a lot of wild, stormy effects of the ocean."
Vickery was not always sure, however, in what direction the compass of fate was pointing. "I floundered. There were years of indecision for me. I punched a time clock in a factory, I was a surveyor's assistant," he says.

"I think I was 24 when I opened my first cheap art studio." That was in Western Springs, Illinois where he sold paintings for $5 each. "I committed some esthetic crimes there. Those early days I did landscapes and portraits. Some experiments. There was always the stability of the great ones in the galleries urging me on."

After that, " I got kind of restless. I went out and did church murals for religious outfits in Iowa in the 40s and 50s. On scaffolds, in sanctuary ceilings, way up there. I painted directly on the walls, some religious, some decorative. In Waterloo, Iowa, I painted a portrait of God."
This didn't impress the monsignor, so Vickery painted God out and replaced him with "some doves and other symbols. That was all adventurous stuff mixed with irreverence."

Suddenly new winds came up. "I had put a painting of Lake Michigan surf in a Chicago gallery [Chicago Galleries Association, 33 N. Michigan Ave.]. Then Eleanor Jewett, a local art critic saw it, and wrote: 'Here's a bright Winslow Homer coming up.' I got so happy I dropped the church work and came back here. That was about '51 or '52," says Vickery.

"I got connected up with W. Russell Button, a prominent gallery on Michigan Avenue. They handled Dawson. I tried to measure up to their standards and it worked out great for 10 years. They were hard to satisfy and that pleased me because it stirred talent."

 

 

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beautiful Charles Vickery fine art posters