Historic Marine Oil Painting Docking RMS Mauretania In Liverpool 1907
Eddie Baker (1940–2025) Docking the RMS Mauretania at Sandon Half Tide Dock, Liverpool, c.2000
Large British Marine Oil Painting with the Tugboats Egerton and Wellington
Highlights
• Impressive large-scale British marine painting by Eddie Baker.
• Depicts RMS Mauretania docking at Liverpool’s Sandon Half Tide Dock.
• The scene represents the celebrated Cunard liner during 1907.
• Assisted by the tugboats identified as Egerton and Wellington.
• Executed in oil on canvas laid onto board.
• Signed by the artist and additionally inscribed on the reverse.
• Combines careful maritime detail with atmospheric narrative painting.
• Striking red-and-black funnels contrast with the monumental dark hull.
• Rich green-blue water, smoke, rigging and reflections create movement and depth.
• Substantial gallery-scale presentation measuring nearly one metre wide.
• Inscribed with the name and Liverpool address of Dennis Green.
• Previously privately loaned to and exhibited at the Lord Hill Museum.
• Presented in a finely moulded giltwood frame with linen slip and protective glazing.
• An outstanding acquisition for collectors of Cunard, Liverpool and ocean-liner history.
Introduction
A commanding large-scale marine painting by the British maritime and aviation artist Eddie Baker (1940–2025), depicting RMS Mauretania docking at Sandon Half Tide Dock in Liverpool.
Painted circa 2000 in oil on canvas laid onto board, the scene represents the celebrated Cunard liner during 1907, assisted by two Mersey tugboats identified as Egerton and Wellington.
Baker captures the coordinated drama of bringing one of the world’s largest and fastest passenger liners safely into Liverpool’s historic dock system. Mauretania’s monumental dark hull dominates the composition, while the considerably smaller tugboats work purposefully around her.
The liner’s four red-and-black funnels rise against a softly coloured sky. Smoke, rigging, reflected light and shifting green-blue water create atmosphere and movement, transforming a technically demanding docking operation into a cinematic marine tableau.
Nearly one metre wide, the painting has a substantial visual presence and would form a compelling centrepiece within a maritime collection, library, office, boardroom or historically inspired interior.
Catalogue Details
Artist: Eddie Baker
Artist’s dates: 1940–2025
Title: Docking the RMS Mauretania at Sandon Half Tide Dock, Liverpool
Date: Circa 2000
Country of origin: United Kingdom
Medium: Oil on canvas laid onto board
Subject: RMS Mauretania docking with the tugboats Egerton and Wellington
Location depicted: Sandon Half Tide Dock, Liverpool
Historical date represented: 1907
Genre: British marine and maritime painting
Style: Maritime realism
Signature: Signed by Eddie Baker
Reverse inscription: “Mauretania (of 1907) by Ed. Baker”
Additional verso information: Name and Liverpool address of Dennis Green, 199 Deysbrook Lane, West Derby
Frame: Finely moulded giltwood frame with linen slip
Glazing: Front protective glass
Catalogue Note
Eddie Baker positions Mauretania slightly away from the centre of the composition, allowing the liner’s vast hull to dominate without overwhelming the surrounding dockside activity.
The tugboats provide both visual balance and narrative purpose. Identified as Egerton and Wellington, they illustrate the essential role performed by Liverpool’s working tug fleet when manoeuvring great passenger ships through confined dock entrances.
The diagonal relationship between the liner and tugs creates a sense of coordinated movement. The contrast in scale emphasises both Mauretania’s extraordinary size and the concentrated power of the smaller working vessels.
Baker’s palette combines the deep black of the hull with vivid red-and-black funnels, warm smoke, a softly illuminated sky and green-blue water. Reflections break across the surface of the dock, while fine details within the rigging and superstructure reward close inspection.
Broad, controlled passages describe the enormous hull and sky. Finer brushwork articulates ropes, masts, smoke, tugboat fittings and reflected light. This balance between breadth and detail gives the painting both immediate impact and historical interest.
The work succeeds as a dramatic marine composition rather than merely a technical ship portrait. It celebrates the relationship between the grandeur of an Edwardian ocean liner and the practical skill of Liverpool’s tug crews.
RMS Mauretania
RMS Mauretania was built for the Cunard Steamship Company by Swan Hunter & Wigham Richardson on Tyneside.
Launched in 1906 and entering passenger service in 1907, she was among the most advanced liners of her generation. Her Parsons steam turbines drove four propellers, providing the speed that established her international reputation.
Mauretania became closely associated with the Blue Riband for the fastest North Atlantic passage. She retained her position at the forefront of transatlantic speed until the German liner Bremen surpassed her in 1929.
Although designed with the possibility of conversion to an armed merchant cruiser, Mauretania served during the First World War as both a troopship and a hospital ship. She carried tens of thousands of troops during her wartime service.
The liner initially operated from Liverpool. After the war, her port of registry changed to Southampton, and she underwent conversion from coal to oil firing during the early 1920s.
Mauretania completed her final voyage to New York in 1934. Her fittings and furnishings were sold the following year before she was taken to Rosyth for dismantling.
Her combination of speed, engineering innovation, elegant interiors and wartime service secured her place among the most celebrated ships in Cunard history.
The Tugboats
The two smaller vessels are identified within the present catalogue history as the tugboats Egerton and Wellington.
Their compact forms provide a striking contrast with Mauretania’s immense hull. Yet their role was indispensable: powerful harbour tugs enabled liners to be turned, controlled and positioned within the restricted spaces of Liverpool’s dock system.
Baker places one tug towards the liner’s bow and the other further astern, creating the impression of a carefully coordinated docking operation.
The tugboat identifications are retained from the supplied historical description of the painting. No separate documentary record conclusively connecting the individual vessels to the represented 1907 event has presently been identified.
The Artist
Eddie Baker was born in 1940 and was educated in Watford before beginning an apprenticeship with Odhams Press.
He worked professionally within the printing industry, later becoming a design planner for Eric Bemrose Ltd, a printing business associated with Liverpool.
Baker developed a particular interest in historic ocean liners after encountering the marine illustrations of Frank Mason in Sea Breezes. He researched his subjects through catalogues, brochures, calendars and historic reference images, seeking to combine technical detail with atmospheric storytelling.
After later moving to Powys, Wales, Baker worked from his studio in Presteigne. Alongside classic liners, he painted civil and military aircraft, including historic airliners and aeroplanes associated with the Second World War.
Baker died in the spring of 2025. With the support of his wife Dianna and Neil Davies, a significant group of his maritime and aviation works was subsequently donated to public and heritage organisations.
Examples of his work have been displayed at institutions including Pembroke Dock Heritage Centre, South Wales Aviation Museum, the 94th Bomb Group Museum, Bottisham Airfield Museum and Robertsbridge Aviation Society.
Provenance
• Inscribed verso: “Mauretania (of 1907) by Ed. Baker”.
• Reverse additionally records the name and Liverpool address of Dennis Green, 199 Deysbrook Lane, West Derby.
• The Liverpool inscription indicates an association with local ownership; whether the work was originally commissioned by or acquired for Dennis Green remains unconfirmed.
• Subsequently consigned to a notable North West England auction house.
• Acquired, professionally researched and curated by Cheshire Antiques Consultant LTD®.
• Subsequently privately loaned to and exhibited at the Lord Hill Museum.
Dimensions
Framed width: 99 cm / 38.98 inches
Framed height: 73 cm / 28.74 inches
Framed depth: 4 cm / 1.57 inches
All dimensions are approximate.
Its substantial gallery scale makes the painting particularly suitable for a maritime collection, library, office, boardroom, reception room or statement wall.
Condition Report
Offered in good overall condition with age-related surface and frame wear.
The oil painting is executed on canvas laid onto board. The support appears stable, and the paint layer retains strong, vibrant colouring.
No significant areas of active paint loss are apparent. Scattered brown spotting or foxing-like staining is visible within portions of the sky.
The finely moulded giltwood frame remains structurally sound. It displays minor age-related chips, rubbing and small areas of loss to the gilt finish.
A linen slip surrounds the painting, and protective glass is fitted to the front. The work is supplied ready for hanging.
Please examine all photographs carefully, as they form an important part of the condition report.
Shipping
Worldwide delivery is available.
Due to its size and protective glazing, the painting will be professionally packaged with exceptional care and fully insured for safe domestic or international delivery.
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Attribution and Research Notice
The historical observations, provenance research, attribution analysis and contextual commentary presented within this catalogue entry represent the professional opinion of Cheshire Antiques Consultant LTD®. They are offered in good faith as informed scholarly assessments based upon the available evidence, comparative research, published reference material and our experience within the international fine art market.
These observations should be understood as professional opinions rather than definitive statements of fact or guarantees of authorship, attribution, date, origin, provenance or historical interpretation. As with all historic works of art, future documentary discoveries, technical examination, conservation analysis or advances in academic research may refine, expand or revise current interpretations.
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