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Foster Collection of Marine Paintings Randall Decoteau Mr. Ward and His Family on Board His Cutter Guerrilla, Nicholas Matthew Condy, c. 1840. The Glen S. Foster collection contains a fine selection of works by British Marine painters. The 35-ton Yacht Guerrilla was owned by Captain Charles Ward, a member of the Royal Yacht Squadron from 1827 to 1833. Columbia Leading Dauntless Rounding Sandy Hook Lightship in the Hurricane Cup Race, James E. Buttersworth, c. 1875. The brand new schooner yacht Columbia was selected as one of four New York Yacht Club schooners for the second defense of the America’s Cup in October 1871. A Yachtsman’s Eye was edited and produced by Alan Granby. The handsome 248-page volume documents the Glen S. Foster collection of marine paintings in magnificent detail. The volume is divided into four sections: American Yachting Art, British Yachting Art, American Marine Art, and British Marine Art. This is a research book for the scholar, as well as the uninitiated lover of maritime art. The superb quality of the reproductions, the detailed descriptions, and artist biographies make the subject matter easy to understand and gives the reader a good feeling for more than 80 works of James and Thomas Buttersworth, Fitz Hugh Lane, Frederic S. Cozzens, Antonio Jacobsen, Robert Salmon, and other masters of marine art. A World Champion Amateur Helmsman Glen Foster was an ardent sailor from the age of six. He was a world champion amateur helmsman and Olympic yachtsman who grew up on the water. He won the bronze medal in the Tempest class of the 1972 Olympic Games in Kiel, Germany, and has won trophies in 10 championships, including a victory in the 5.5 Meter class in the last year of his life. It seems clear that there is a real connection between Foster’s love of the sea and his ability to zero in on the finest examples produced by each of the artists in his collection. “He knew about light and reflection on water,” asserts Alan Granby. “From experience and from his passion for sailing, he knew what to look for when purchasing paintings for his collection.” His assemblage of marine paintings was unparalleled. It began when he was quite young, with the gifts of two Thomas Buttersworth paintings titled English Ships in Harbor and HMS Brittania Beating Down the Channel Past the Eddystone Lighthouse. These two paintings inspired a lifelong pursuit of the best examples of work by pre-eminent American and British marine artists. “Glen Foster never collected for investment,” commented Granby. “He collected for passion.” Gentleman Sailor and Connoisseur As Alan Granby tells the story, getting to know Glen Foster was like getting a post-doctoral degree. “I’ve watched people in the field stand before Glen’s collection for the first time,” he said, “and always noted how awe-struck they were.” For years Alan had been watching the marketplace and had seen great American marine paintings purchased, but had no idea who was buying them. When he finally met Glen and was invited to his New York apartment, he saw on the walls all the great masterpieces that he recognized from years of following the market. In 1990 Foster sponsored Alan Granby for membership in the New York Yacht Club. “It was a great privilege for me to be sponsored by such a well-respected yachtsman and even further to receive Glen’s encouragement in 1991,” said Granby, “when I was asked to join the club’s Fine Arts Committee, of which he was a member.” Alan revealed that Glen was interested in all aspects of the club’s collection, including conservation, framing, placement, and acquisitions. Sailors Collaborate in Collecting “I’ve been boating for many years, at least a few decades now,” admitted Alan. “It was my wife Janice who took me sailing for the very first time.” Up until the 1970s, Granby was a collector of nineteenth-century photographs. Very quickly, he switched his focus to yachting subject matter, and then to the maritime art business more broadly. It has been more than 30 years now that Alan and his wife have been selling maritime art under the name of Hyland Granby. “Glen and I spent a lot of time together in New York, and when he visited New England, he would stay with Janice and me,” said Granby. “We were close friends and we frequently socialized outside the business.” Alan and Glen began to discuss paintings that would be coming up for sale. Foster had strong relationships with many dealers and auction house specialists, but during the last 10 years of his life, he selected Hyland Granby to represent him. “We would speak at least three times per week about things coming to the market,” Granby said. “We always discussed whether great pictures were right for his collection.” If it was decided that a painting should be added to the Glen Foster collection, then Alan would represent him at the sale because Glen insisted on keeping a low public profile. Producing the Book Upon Glen Foster’s death in 1999, his great collection of artists who loved and knew the sea well seemed destined to be dispersed. It was thus important to his friends and colleagues that somehow the collection be documented. Alan tells that Glen’s records were impeccable. The entire collection had been shot on four inch by four inch color transparencies and every painting was thoroughly researched even before purchase. “Our personal database featured research prior to each purchase,” said Granby. “Many of these pictures brought world records – purchases like these can’t be done arbitrarily.” It is likely that Alan and Janice handled about 60 percent of what was in the collection, so it wasn’t all that difficult to work on the book because both had personal involvement and an intimate knowledge of each painting. The production costs of the book were paid for by private subscription and all the writers donated their time. According to Granby, nobody seemed to mind because Glen was so well known in the maritime world. The printers used a photographic process in which a sort of varnish was superimposed over each image in order to bring up color, clarity, and depth. It’s this process that brings each painting vividly to life. “I think the book’s been a significant contribution to the literature on maritime art,” Alan spoke seriously. “I think it features more fine examples of the highest quality marine artists than many previous books on the subject. The illustrations are of such superb quality that it can teach more than books with lower resolution images.” All photos courtesy of Norton & Company. A Yachtsman’s Eye is available from the Independence Seaport Museum, 211 South Columbus Blvd. & Walnut Street, Philadelphia, PA 19106, (215) 413-8655, www.phillyseaport.org.A Yachtsman’s Eye, The Glen S. Foster Collection of Marine Paintings, Edited and Produced by Alan Granby, Ph.D. with text and captions by Ben Simons, Harry H. Anderson, Jr., John Carter, A. S. Davidson, Karl Gabosh, Llewellyn Howland III, Betty Krulik, Richard C. Kugler, Alistair Laird, and Erik A. R. Ronnberg, Jr., Published by Independence Seaport Museum, Philadelphia, PA, in association with W. W. Norton & Company, New York, December 2004. 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Foster Collection of Marine Paintings Randall Decoteau Mr. Ward and His Family on Board His Cutter Guerrilla, Nicholas Matthew Condy, c. 1840. The Glen S. Foster collection contains a fine selection of works by British Marine painters. The 35-ton Yacht Guerrilla was owned by Captain Charles Ward, a member of the Royal Yacht Squadron from 1827 to 1833. Columbia Leading Dauntless Rounding Sandy Hook Lightship in the Hurricane Cup Race, James E. Buttersworth, c. 1875. The brand new schooner yacht Columbia was selected as one of four New York Yacht Club schooners for the second defense of the America’s Cup in October 1871. A Yachtsman’s Eye was edited and produced by Alan Granby. The handsome 248-page volume documents the Glen S. Foster collection of marine paintings in magnificent detail. The volume is divided into four sections: American Yachting Art, British Yachting Art, American Marine Art, and British Marine Art. This is a research book for the scholar, as well as the uninitiated lover of maritime art. The superb quality of the reproductions, the detailed descriptions, and artist biographies make the subject matter easy to understand and gives the reader a good feeling for more than 80 works of James and Thomas Buttersworth, Fitz Hugh Lane, Frederic S. Cozzens, Antonio Jacobsen, Robert Salmon, and other masters of marine art. A World Champion Amateur Helmsman Glen Foster was an ardent sailor from the age of six. He was a world champion amateur helmsman and Olympic yachtsman who grew up on the water. He won the bronze medal in the Tempest class of the 1972 Olympic Games in Kiel, Germany, and has won trophies in 10 championships, including a victory in the 5.5 Meter class in the last year of his life. It seems clear that there is a real connection between Foster’s love of the sea and his ability to zero in on the finest examples produced by each of the artists in his collection. “He knew about light and reflection on water,” asserts Alan Granby. “From experience and from his passion for sailing, he knew what to look for when purchasing paintings for his collection.” His assemblage of marine paintings was unparalleled. It began when he was quite young, with the gifts of two Thomas Buttersworth paintings titled English Ships in Harbor and HMS Brittania Beating Down the Channel Past the Eddystone Lighthouse. These two paintings inspired a lifelong pursuit of the best examples of work by pre-eminent American and British marine artists. “Glen Foster never collected for investment,” commented Granby. “He collected for passion.” Gentleman Sailor and Connoisseur As Alan Granby tells the story, getting to know Glen Foster was like getting a post-doctoral degree. “I’ve watched people in the field stand before Glen’s collection for the first time,” he said, “and always noted how awe-struck they were.” For years Alan had been watching the marketplace and had seen great American marine paintings purchased, but had no idea who was buying them. When he finally met Glen and was invited to his New York apartment, he saw on the walls all the great masterpieces that he recognized from years of following the market. In 1990 Foster sponsored Alan Granby for membership in the New York Yacht Club. “It was a great privilege for me to be sponsored by such a well-respected yachtsman and even further to receive Glen’s encouragement in 1991,” said Granby, “when I was asked to join the club’s Fine Arts Committee, of which he was a member.” Alan revealed that Glen was interested in all aspects of the club’s collection, including conservation, framing, placement, and acquisitions. Sailors Collaborate in Collecting “I’ve been boating for many years, at least a few decades now,” admitted Alan. “It was my wife Janice who took me sailing for the very first time.” Up until the 1970s, Granby was a collector of nineteenth-century photographs. Very quickly, he switched his focus to yachting subject matter, and then to the maritime art business more broadly. It has been more than 30 years now that Alan and his wife have been selling maritime art under the name of Hyland Granby. “Glen and I spent a lot of time together in New York, and when he visited New England, he would stay with Janice and me,” said Granby. “We were close friends and we frequently socialized outside the business.” Alan and Glen began to discuss paintings that would be coming up for sale. Foster had strong relationships with many dealers and auction house specialists, but during the last 10 years of his life, he selected Hyland Granby to represent him. “We would speak at least three times per week about things coming to the market,” Granby said. “We always discussed whether great pictures were right for his collection.” If it was decided that a painting should be added to the Glen Foster collection, then Alan would represent him at the sale because Glen insisted on keeping a low public profile. Producing the Book Upon Glen Foster’s death in 1999, his great collection of artists who loved and knew the sea well seemed destined to be dispersed. It was thus important to his friends and colleagues that somehow the collection be documented. Alan tells that Glen’s records were impeccable. The entire collection had been shot on four inch by four inch color transparencies and every painting was thoroughly researched even before purchase. “Our personal database featured research prior to each purchase,” said Granby. “Many of these pictures brought world records – purchases like these can’t be done arbitrarily.” It is likely that Alan and Janice handled about 60 percent of what was in the collection, so it wasn’t all that difficult to work on the book because both had personal involvement and an intimate knowledge of each painting. The production costs of the book were paid for by private subscription and all the writers donated their time. According to Granby, nobody seemed to mind because Glen was so well known in the maritime world. The printers used a photographic process in which a sort of varnish was superimposed over each image in order to bring up color, clarity, and depth. It’s this process that brings each painting vividly to life. “I think the book’s been a significant contribution to the literature on maritime art,” Alan spoke seriously. “I think it features more fine examples of the highest quality marine artists than many previous books on the subject. The illustrations are of such superb quality that it can teach more than books with lower resolution images.” All photos courtesy of Norton & Company. A Yachtsman’s Eye is available from the Independence Seaport Museum, 211 South Columbus Blvd. & Walnut Street, Philadelphia, PA 19106, (215) 413-8655, www.phillyseaport.org.A Yachtsman’s Eye, The Glen S. Foster Collection of Marine Paintings, Edited and Produced by Alan Granby, Ph.D. with text and captions by Ben Simons, Harry H. Anderson, Jr., John Carter, A. S. Davidson, Karl Gabosh, Llewellyn Howland III, Betty Krulik, Richard C. Kugler, Alistair Laird, and Erik A. R. Ronnberg, Jr., Published by Independence Seaport Museum, Philadelphia, PA, in association with W. W. Norton & Company, New York, December 2004. 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Foster Collection of Marine Paintings Randall Decoteau Mr. Ward and His Family on Board His Cutter Guerrilla, Nicholas Matthew Condy, c. 1840. The Glen S. Foster collection contains a fine selection of works by British Marine painters. The 35-ton Yacht Guerrilla was owned by Captain Charles Ward, a member of the Royal Yacht Squadron from 1827 to 1833. Columbia Leading Dauntless Rounding Sandy Hook Lightship in the Hurricane Cup Race, James E. Buttersworth, c. 1875. The brand new schooner yacht Columbia was selected as one of four New York Yacht Club schooners for the second defense of the America’s Cup in October 1871. A Yachtsman’s Eye was edited and produced by Alan Granby. The handsome 248-page volume documents the Glen S. Foster collection of marine paintings in magnificent detail. The volume is divided into four sections: American Yachting Art, British Yachting Art, American Marine Art, and British Marine Art. This is a research book for the scholar, as well as the uninitiated lover of maritime art. The superb quality of the reproductions, the detailed descriptions, and artist biographies make the subject matter easy to understand and gives the reader a good feeling for more than 80 works of James and Thomas Buttersworth, Fitz Hugh Lane, Frederic S. Cozzens, Antonio Jacobsen, Robert Salmon, and other masters of marine art. A World Champion Amateur Helmsman Glen Foster was an ardent sailor from the age of six. He was a world champion amateur helmsman and Olympic yachtsman who grew up on the water. He won the bronze medal in the Tempest class of the 1972 Olympic Games in Kiel, Germany, and has won trophies in 10 championships, including a victory in the 5.5 Meter class in the last year of his life. It seems clear that there is a real connection between Foster’s love of the sea and his ability to zero in on the finest examples produced by each of the artists in his collection. “He knew about light and reflection on water,” asserts Alan Granby. “From experience and from his passion for sailing, he knew what to look for when purchasing paintings for his collection.” His assemblage of marine paintings was unparalleled. It began when he was quite young, with the gifts of two Thomas Buttersworth paintings titled English Ships in Harbor and HMS Brittania Beating Down the Channel Past the Eddystone Lighthouse. These two paintings inspired a lifelong pursuit of the best examples of work by pre-eminent American and British marine artists. “Glen Foster never collected for investment,” commented Granby. “He collected for passion.” Gentleman Sailor and Connoisseur As Alan Granby tells the story, getting to know Glen Foster was like getting a post-doctoral degree. “I’ve watched people in the field stand before Glen’s collection for the first time,” he said, “and always noted how awe-struck they were.” For years Alan had been watching the marketplace and had seen great American marine paintings purchased, but had no idea who was buying them. When he finally met Glen and was invited to his New York apartment, he saw on the walls all the great masterpieces that he recognized from years of following the market. In 1990 Foster sponsored Alan Granby for membership in the New York Yacht Club. “It was a great privilege for me to be sponsored by such a well-respected yachtsman and even further to receive Glen’s encouragement in 1991,” said Granby, “when I was asked to join the club’s Fine Arts Committee, of which he was a member.” Alan revealed that Glen was interested in all aspects of the club’s collection, including conservation, framing, placement, and acquisitions. Sailors Collaborate in Collecting “I’ve been boating for many years, at least a few decades now,” admitted Alan. “It was my wife Janice who took me sailing for the very first time.” Up until the 1970s, Granby was a collector of nineteenth-century photographs. Very quickly, he switched his focus to yachting subject matter, and then to the maritime art business more broadly. It has been more than 30 years now that Alan and his wife have been selling maritime art under the name of Hyland Granby. “Glen and I spent a lot of time together in New York, and when he visited New England, he would stay with Janice and me,” said Granby. “We were close friends and we frequently socialized outside the business.” Alan and Glen began to discuss paintings that would be coming up for sale. Foster had strong relationships with many dealers and auction house specialists, but during the last 10 years of his life, he selected Hyland Granby to represent him. “We would speak at least three times per week about things coming to the market,” Granby said. “We always discussed whether great pictures were right for his collection.” If it was decided that a painting should be added to the Glen Foster collection, then Alan would represent him at the sale because Glen insisted on keeping a low public profile. Producing the Book Upon Glen Foster’s death in 1999, his great collection of artists who loved and knew the sea well seemed destined to be dispersed. It was thus important to his friends and colleagues that somehow the collection be documented. Alan tells that Glen’s records were impeccable. The entire collection had been shot on four inch by four inch color transparencies and every painting was thoroughly researched even before purchase. “Our personal database featured research prior to each purchase,” said Granby. “Many of these pictures brought world records – purchases like these can’t be done arbitrarily.” It is likely that Alan and Janice handled about 60 percent of what was in the collection, so it wasn’t all that difficult to work on the book because both had personal involvement and an intimate knowledge of each painting. The production costs of the book were paid for by private subscription and all the writers donated their time. According to Granby, nobody seemed to mind because Glen was so well known in the maritime world. The printers used a photographic process in which a sort of varnish was superimposed over each image in order to bring up color, clarity, and depth. It’s this process that brings each painting vividly to life. “I think the book’s been a significant contribution to the literature on maritime art,” Alan spoke seriously. “I think it features more fine examples of the highest quality marine artists than many previous books on the subject. The illustrations are of such superb quality that it can teach more than books with lower resolution images.” All photos courtesy of Norton & Company. A Yachtsman’s Eye is available from the Independence Seaport Museum, 211 South Columbus Blvd. & Walnut Street, Philadelphia, PA 19106, (215) 413-8655, www.phillyseaport.org.A Yachtsman’s Eye, The Glen S. Foster Collection of Marine Paintings, Edited and Produced by Alan Granby, Ph.D. with text and captions by Ben Simons, Harry H. Anderson, Jr., John Carter, A. S. Davidson, Karl Gabosh, Llewellyn Howland III, Betty Krulik, Richard C. Kugler, Alistair Laird, and Erik A. R. Ronnberg, Jr., Published by Independence Seaport Museum, Philadelphia, PA, in association with W. W. Norton & Company, New York, December 2004. 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Foster Collection of Marine Paintings Randall Decoteau Mr. Ward and His Family on Board His Cutter Guerrilla, Nicholas Matthew Condy, c. 1840. The Glen S. Foster collection contains a fine selection of works by British Marine painters. The 35-ton Yacht Guerrilla was owned by Captain Charles Ward, a member of the Royal Yacht Squadron from 1827 to 1833. Columbia Leading Dauntless Rounding Sandy Hook Lightship in the Hurricane Cup Race, James E. Buttersworth, c. 1875. The brand new schooner yacht Columbia was selected as one of four New York Yacht Club schooners for the second defense of the America’s Cup in October 1871. A Yachtsman’s Eye was edited and produced by Alan Granby. The handsome 248-page volume documents the Glen S. Foster collection of marine paintings in magnificent detail. The volume is divided into four sections: American Yachting Art, British Yachting Art, American Marine Art, and British Marine Art. This is a research book for the scholar, as well as the uninitiated lover of maritime art. The superb quality of the reproductions, the detailed descriptions, and artist biographies make the subject matter easy to understand and gives the reader a good feeling for more than 80 works of James and Thomas Buttersworth, Fitz Hugh Lane, Frederic S. Cozzens, Antonio Jacobsen, Robert Salmon, and other masters of marine art. A World Champion Amateur Helmsman Glen Foster was an ardent sailor from the age of six. He was a world champion amateur helmsman and Olympic yachtsman who grew up on the water. He won the bronze medal in the Tempest class of the 1972 Olympic Games in Kiel, Germany, and has won trophies in 10 championships, including a victory in the 5.5 Meter class in the last year of his life. It seems clear that there is a real connection between Foster’s love of the sea and his ability to zero in on the finest examples produced by each of the artists in his collection. “He knew about light and reflection on water,” asserts Alan Granby. “From experience and from his passion for sailing, he knew what to look for when purchasing paintings for his collection.” His assemblage of marine paintings was unparalleled. It began when he was quite young, with the gifts of two Thomas Buttersworth paintings titled English Ships in Harbor and HMS Brittania Beating Down the Channel Past the Eddystone Lighthouse. These two paintings inspired a lifelong pursuit of the best examples of work by pre-eminent American and British marine artists. “Glen Foster never collected for investment,” commented Granby. “He collected for passion.” Gentleman Sailor and Connoisseur As Alan Granby tells the story, getting to know Glen Foster was like getting a post-doctoral degree. “I’ve watched people in the field stand before Glen’s collection for the first time,” he said, “and always noted how awe-struck they were.” For years Alan had been watching the marketplace and had seen great American marine paintings purchased, but had no idea who was buying them. When he finally met Glen and was invited to his New York apartment, he saw on the walls all the great masterpieces that he recognized from years of following the market. In 1990 Foster sponsored Alan Granby for membership in the New York Yacht Club. “It was a great privilege for me to be sponsored by such a well-respected yachtsman and even further to receive Glen’s encouragement in 1991,” said Granby, “when I was asked to join the club’s Fine Arts Committee, of which he was a member.” Alan revealed that Glen was interested in all aspects of the club’s collection, including conservation, framing, placement, and acquisitions. Sailors Collaborate in Collecting “I’ve been boating for many years, at least a few decades now,” admitted Alan. “It was my wife Janice who took me sailing for the very first time.” Up until the 1970s, Granby was a collector of nineteenth-century photographs. Very quickly, he switched his focus to yachting subject matter, and then to the maritime art business more broadly. It has been more than 30 years now that Alan and his wife have been selling maritime art under the name of Hyland Granby. “Glen and I spent a lot of time together in New York, and when he visited New England, he would stay with Janice and me,” said Granby. “We were close friends and we frequently socialized outside the business.” Alan and Glen began to discuss paintings that would be coming up for sale. Foster had strong relationships with many dealers and auction house specialists, but during the last 10 years of his life, he selected Hyland Granby to represent him. “We would speak at least three times per week about things coming to the market,” Granby said. “We always discussed whether great pictures were right for his collection.” If it was decided that a painting should be added to the Glen Foster collection, then Alan would represent him at the sale because Glen insisted on keeping a low public profile. Producing the Book Upon Glen Foster’s death in 1999, his great collection of artists who loved and knew the sea well seemed destined to be dispersed. It was thus important to his friends and colleagues that somehow the collection be documented. Alan tells that Glen’s records were impeccable. The entire collection had been shot on four inch by four inch color transparencies and every painting was thoroughly researched even before purchase. “Our personal database featured research prior to each purchase,” said Granby. “Many of these pictures brought world records – purchases like these can’t be done arbitrarily.” It is likely that Alan and Janice handled about 60 percent of what was in the collection, so it wasn’t all that difficult to work on the book because both had personal involvement and an intimate knowledge of each painting. The production costs of the book were paid for by private subscription and all the writers donated their time. According to Granby, nobody seemed to mind because Glen was so well known in the maritime world. The printers used a photographic process in which a sort of varnish was superimposed over each image in order to bring up color, clarity, and depth. It’s this process that brings each painting vividly to life. “I think the book’s been a significant contribution to the literature on maritime art,” Alan spoke seriously. “I think it features more fine examples of the highest quality marine artists than many previous books on the subject. The illustrations are of such superb quality that it can teach more than books with lower resolution images.” All photos courtesy of Norton & Company. A Yachtsman’s Eye is available from the Independence Seaport Museum, 211 South Columbus Blvd. & Walnut Street, Philadelphia, PA 19106, (215) 413-8655, www.phillyseaport.org.A Yachtsman’s Eye, The Glen S. Foster Collection of Marine Paintings, Edited and Produced by Alan Granby, Ph.D. with text and captions by Ben Simons, Harry H. Anderson, Jr., John Carter, A. S. Davidson, Karl Gabosh, Llewellyn Howland III, Betty Krulik, Richard C. Kugler, Alistair Laird, and Erik A. R. Ronnberg, Jr., Published by Independence Seaport Museum, Philadelphia, PA, in association with W. W. Norton & Company, New York, December 2004. 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