{"product_id":"draft","title":"Graham Jowett-Ive 1946–2012 Battle of St Vincent Nelson’s Bridge RSMA Exhibited Naval Oil c2005","description":"\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eGraham Jowett-Ive (1946–2012) Battle of St Vincent Nelson’s Bridge RSMA Exhibited Naval Oil 2005\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAn important large British historical marine oil depicting Nelson’s celebrated action during the Battle of Cape St Vincent on 14 February 1797.\u003c\/p\u003e\n\u003cp\u003eExhibited with the Royal Society of Marine Artists at The Mall Galleries in 2005, retaining its original exhibition label and accompanied by the artist’s handwritten letter and original preparatory pencil sketch.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHighlights\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e• Original large-scale historical marine oil by \u003cstrong\u003eGraham Jowett-Ive (1946–2012)\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• Signed and dated \u003cstrong\u003e“Jowett-Ive 05”\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• Original documented exhibition title: \u003cem\u003e\u003cstrong\u003eBattle of St Vincent. Nelson’s Bridge\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e• Oil on canvas, painted in \u003cstrong\u003e2005\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• Exhibited with the \u003cstrong\u003eRoyal Society of Marine Artists at The Mall Galleries, London, in 2005\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• Original 2005 RSMA \/ Mall Galleries exhibition label retained verso.\u003c\/p\u003e\n\u003cp\u003e• Original exhibition price recorded as \u003cstrong\u003e£750\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• Accompanied by Graham Jowett-Ive’s handwritten letter to the original purchaser, dated \u003cstrong\u003e3 November 2005\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• The artist’s letter directly confirms that the purchaser had acquired the painting exhibited at that year’s RSMA show.\u003c\/p\u003e\n\u003cp\u003e• Accompanied by Jowett-Ive’s \u003cstrong\u003eoriginal preparatory pencil sketch for this painting\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• The artist explicitly identifies the drawing as \u003cstrong\u003e“the sketch from which your painting developed”\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• The artist records in his letter that the \u003cstrong\u003eAlexander Gallery, Bristol\u003c\/strong\u003e, then had several of his paintings on display, which he described as works celebrating \u003cstrong\u003e“the sea, or rather Nelson on the sea!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e• Historical subject: \u003cstrong\u003eBattle of Cape St Vincent, 14 February 1797\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• Closely associated with Nelson’s celebrated capture of the Spanish \u003cem\u003e\u003cstrong\u003eSan Nicolás\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eSan Josef\u003c\/strong\u003e\u003c\/em\u003e and the exploit remembered as \u003cstrong\u003e“Nelson’s Patent Bridge for boarding first rates”\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• Subsequently offered by \u003cstrong\u003eLittleton Auctions, Evesham, 1 August 2026, Lot 306\u003c\/strong\u003e, together with the corresponding letter and original pencil sketch.\u003c\/p\u003e\n\u003cp\u003e• Privately loaned and exhibited with the \u003cstrong\u003eFamous Lord Hill Museum\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e• Recently reframed and ready to display.\u003c\/p\u003e\n\u003cp\u003e• Supplied with a \u003cstrong\u003eCertificate of Sale \u0026amp; Dealer Attribution\u003c\/strong\u003e issued by Cheshire Antiques Consultant LTD®.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIntroduction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCheshire Antiques Consultant LTD® is delighted to present this exceptionally well-documented large British historical marine oil painting by \u003cstrong\u003eGraham Jowett-Ive (1946–2012)\u003c\/strong\u003e, painted in 2005 and depicting the celebrated naval action of Horatio Nelson during the \u003cstrong\u003eBattle of Cape St Vincent\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe work combines imposing scale and dramatic naval subject matter with an unusually rich body of surviving primary documentation.\u003c\/p\u003e\n\u003cp\u003eAttached verso is the painting’s original \u003cstrong\u003e2005 Royal Society of Marine Artists exhibition label from The Mall Galleries, London\u003c\/strong\u003e. It records Graham Jowett-Ive as the artist, the medium as oil, the original exhibition price of £750 and, crucially, the title:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eBattle of St Vincent. Nelson’s Bridge\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eEven more significantly, the painting is accompanied by Jowett-Ive’s handwritten letter to its original purchaser, \u003cstrong\u003eMr E. Joll of Lower Swainswick House, Bath\u003c\/strong\u003e, dated 3 November 2005, together with the artist’s original preparatory pencil sketch.\u003c\/p\u003e\n\u003cp\u003eThe letter provides direct contemporary evidence linking the artist, painting, exhibition, purchaser and preparatory drawing.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCatalogue Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eArtist: \u003cstrong\u003eGraham Jowett-Ive (British, 1946–2012)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTitle: \u003cem\u003e\u003cstrong\u003eBattle of St Vincent. Nelson’s Bridge\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eDate: \u003cstrong\u003e2005\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMedium: \u003cstrong\u003eOil on canvas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSignature: Signed and dated \u003cstrong\u003e“Jowett-Ive 05”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSubject: \u003cstrong\u003eBattle of Cape St Vincent, 14 February 1797\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition: \u003cstrong\u003eRoyal Society of Marine Artists, The Mall Galleries, London, 2005\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOriginal Exhibition Price: \u003cstrong\u003e£750\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVisible Canvas \/ Image Area: \u003cstrong\u003e92 cm wide × 62.5 cm high\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOverall Framed Dimensions: \u003cstrong\u003e109 cm wide × 79 cm high × 2.5 cm deep\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFrame: \u003cstrong\u003eRecently reframed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAccompanying Archival Material: \u003cstrong\u003eOriginal preparatory pencil sketch and handwritten letter from Graham Jowett-Ive dated 3 November 2005\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCatalogue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJowett-Ive presents the engagement as an expansive panorama of British and Spanish sailing warships locked in close action.\u003c\/p\u003e\n\u003cp\u003eA substantial British warship occupies the left of the composition while imposing Spanish vessels dominate the central and right-hand groups. Their distinctive red-and-yellow colours punctuate the predominantly blue, white and ochre palette.\u003c\/p\u003e\n\u003cp\u003eTowering masts and complex rigging rise against a luminous maritime sky while cannon smoke drifts between the opposing ships. Shot striking the sea, breaking water and partially obscured vessels reinforce the confusion and violence of battle.\u003c\/p\u003e\n\u003cp\u003eThe artist has treated the episode as a broad historical reconstruction rather than a diagrammatic representation of a single instant. Individual vessels beyond those central to the documented historical episode should therefore not be identified without further evidence.\u003c\/p\u003e\n\u003cp\u003eThe original exhibition label is particularly important to the painting’s identification.\u003c\/p\u003e\n\u003cp\u003eWhen the work subsequently appeared at \u003cstrong\u003eLittleton Auctions in 2026\u003c\/strong\u003e, it was catalogued as a \u003cem\u003eBattle of Trafalgar, 1805\u003c\/em\u003e. That later description differs from the surviving contemporary documentation.\u003c\/p\u003e\n\u003cp\u003eThe original 2005 exhibition label explicitly identifies the work as \u003cem\u003e\u003cstrong\u003eBattle of St Vincent. Nelson’s Bridge\u003c\/strong\u003e\u003c\/em\u003e, while Jowett-Ive’s contemporary letter independently confirms that the recipient had purchased his painting exhibited at that year’s RSMA show.\u003c\/p\u003e\n\u003cp\u003eThe present catalogue therefore restores and retains the documented \u003cstrong\u003e2005 exhibition title\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Battle of Cape St Vincent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Battle of Cape St Vincent was fought on \u003cstrong\u003e14 February 1797\u003c\/strong\u003e during the French Revolutionary Wars.\u003c\/p\u003e\n\u003cp\u003eA British fleet commanded by \u003cstrong\u003eAdmiral Sir John Jervis\u003c\/strong\u003e encountered a substantially larger Spanish force off the south-western coast of Portugal.\u003c\/p\u003e\n\u003cp\u003eHoratio Nelson, then a commodore commanding the 74-gun \u003cem\u003e\u003cstrong\u003eHMS Captain\u003c\/strong\u003e\u003c\/em\u003e, played an audacious role in the action. Breaking from the conventional British line, Nelson placed \u003cem\u003eCaptain\u003c\/em\u003e across the path of part of the Spanish fleet and became heavily engaged against superior opposition.\u003c\/p\u003e\n\u003cp\u003eThe action culminated in one of the most celebrated boarding episodes in British naval history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNelson’s Bridge\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDuring the fighting, Nelson’s \u003cem\u003e\u003cstrong\u003eCaptain\u003c\/strong\u003e\u003c\/em\u003e became closely engaged with the Spanish \u003cem\u003e\u003cstrong\u003eSan Nicolás\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eNelson led a boarding party onto \u003cem\u003eSan Nicolás\u003c\/em\u003e and captured her. During the action, \u003cem\u003eSan Nicolás\u003c\/em\u003e became entangled with the substantially larger Spanish \u003cem\u003e\u003cstrong\u003eSan Josef\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eNelson immediately exploited the situation.\u003c\/p\u003e\n\u003cp\u003eRather than returning to his own ship, he and his men proceeded from the captured \u003cem\u003eSan Nicolás\u003c\/em\u003e directly onto \u003cem\u003eSan Josef\u003c\/em\u003eand captured the second Spanish vessel.\u003c\/p\u003e\n\u003cp\u003eThe extraordinary manoeuvre became celebrated as \u003cstrong\u003e“Nelson’s Patent Bridge for boarding first rates.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe subtitle \u003cem\u003e\u003cstrong\u003eNelson’s Bridge\u003c\/strong\u003e\u003c\/em\u003e on Jowett-Ive’s original exhibition label therefore has a precise historical meaning and strongly supports the identification of the painting as the \u003cstrong\u003eBattle of Cape St Vincent rather than Trafalgar\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Original Preparatory Sketch\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAn especially important feature of the work is the survival of Jowett-Ive’s original pencil study.\u003c\/p\u003e\n\u003cp\u003eExecuted rapidly in pencil, the drawing establishes the developing maritime composition: the principal concentration of sailing vessels, their masts and hulls, the horizon and the overall distribution of the naval action.\u003c\/p\u003e\n\u003cp\u003eThe relationship between drawing and painting does not depend upon visual comparison alone.\u003c\/p\u003e\n\u003cp\u003eJowett-Ive himself identifies it.\u003c\/p\u003e\n\u003cp\u003eIn his letter dated 3 November 2005, the artist tells Mr Joll:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“I enclose the sketch from which your painting developed…”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe drawing can therefore be confidently catalogued as the \u003cstrong\u003eoriginal preparatory pencil sketch for \u003cem\u003eBattle of St Vincent. Nelson’s Bridge\u003c\/em\u003e\u003c\/strong\u003e rather than merely an associated maritime drawing.\u003c\/p\u003e\n\u003cp\u003eThe survival of both study and finished oil provides an unusually direct insight into Jowett-Ive’s working process.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Artist’s 2005 Letter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe handwritten letter accompanying the painting constitutes important primary evidence for both the work and the artist’s biography.\u003c\/p\u003e\n\u003cp\u003eWriting on \u003cstrong\u003e3 November 2005\u003c\/strong\u003e, Jowett-Ive states that he had been notified by the \u003cstrong\u003eRSMA\u003c\/strong\u003e that Mr Joll had purchased his painting exhibited at that year’s show.\u003c\/p\u003e\n\u003cp\u003eThis provides direct artist-authored confirmation of the painting’s exhibition and first documented purchase.\u003c\/p\u003e\n\u003cp\u003eThe letter also provides an unusually personal account of Jowett-Ive’s development as an artist.\u003c\/p\u003e\n\u003cp\u003eHe explains that although he had \u003cstrong\u003esketched throughout his life\u003c\/strong\u003e, he had been painting for approximately \u003cstrong\u003eeleven years\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eFollowing an accident which left him \u003cstrong\u003eseverely disabled\u003c\/strong\u003e, painting initially became therapeutic: a means of helping to get his fingers working and of keeping his mind occupied.\u003c\/p\u003e\n\u003cp\u003eThis places the beginning of his serious painting practice at approximately \u003cstrong\u003e1994\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eJowett-Ive further records that his main residence was in \u003cstrong\u003eBristol\u003c\/strong\u003e, but that following his accident he spent much of his time in \u003cstrong\u003eDevon\u003c\/strong\u003e, writing memorably that he needed:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“a daily dose of the sea.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe letter therefore provides a compelling first-person explanation for the importance of maritime imagery within his work.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGraham Jowett-Ive (1946–2012)\u003c\/strong\u003e was a British painter particularly associated with marine, naval and historical subjects.\u003c\/p\u003e\n\u003cp\u003ePublished auction records consistently give his dates as 1946–2012. No reliable evidence of formal art-school education or a named artistic teacher has presently been identified.\u003c\/p\u003e\n\u003cp\u003eHis own 2005 letter instead describes a largely self-directed development: lifelong sketching followed by serious painting after his disabling accident.\u003c\/p\u003e\n\u003cp\u003eThe sea subsequently became central to his work.\u003c\/p\u003e\n\u003cp\u003eIn November 2005 Jowett-Ive recorded that the \u003cstrong\u003eAlexander Gallery in Bristol\u003c\/strong\u003e had several of his paintings on display. Characteristically, he described them as works:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“all celebrating the sea, or rather Nelson on the sea!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis statement is particularly relevant to the present work because it places \u003cem\u003eBattle of St Vincent. Nelson’s Bridge\u003c\/em\u003e within a documented period of concentrated interest in \u003cstrong\u003eNelson and historical naval subjects\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eSurviving auction records reinforce that picture of his oeuvre. Recorded works include \u003cem\u003e\u003cstrong\u003eAtlantic Fleet\u003c\/strong\u003e\u003c\/em\u003e, signed and dated 2000, together with a pair of \u003cstrong\u003eFrench Napoleonic battleships at sea\u003c\/strong\u003e, dated 2004, and other historical maritime and military compositions.\u003c\/p\u003e\n\u003cp\u003eThe present painting therefore belongs naturally within an established strand of Jowett-Ive’s work rather than representing an isolated naval subject.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Alexander Gallery, Bristol\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJowett-Ive’s reference to the Alexander Gallery is an important contemporary biographical detail.\u003c\/p\u003e\n\u003cp\u003eThe gallery operated at \u003cstrong\u003e122 Whiteladies Road, Clifton, Bristol\u003c\/strong\u003e, and had an established history of displaying and dealing in British paintings.\u003c\/p\u003e\n\u003cp\u003eJowett-Ive’s letter establishes that a number of his works were on display there in November 2005.\u003c\/p\u003e\n\u003cp\u003eThere is presently insufficient documentary evidence to describe him as formally represented by the gallery or to describe this display as a named solo exhibition. The more precise catalogue wording is therefore that \u003cstrong\u003ethe artist recorded several of his paintings as being on display at the Alexander Gallery, Bristol, in 2005\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoyal Society of Marine Artists \u0026amp; The Mall Galleries\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Royal Society of Marine Artists was founded as the \u003cstrong\u003eSociety of Marine Artists in 1939\u003c\/strong\u003e and was granted royal status in \u003cstrong\u003e1966\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIts annual exhibitions have been held at \u003cstrong\u003eThe Mall Galleries, London, since 1981\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe Society’s annual exhibition includes selected works submitted by non-members alongside works by elected members.\u003c\/p\u003e\n\u003cp\u003eAccordingly, the surviving documentation firmly establishes that \u003cstrong\u003eGraham Jowett-Ive exhibited with the Royal Society of Marine Artists in 2005\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt does \u003cstrong\u003enot\u003c\/strong\u003e, on the evidence presently available, establish that he was an elected member of the Society. For that reason the post-nominal \u003cstrong\u003eRSMA should not be placed after his name\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe original label retained with the present painting records:\u003c\/p\u003e\n\u003cp\u003eExhibition: \u003cstrong\u003eRS Marine Artists\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVenue: \u003cstrong\u003eThe Mall Galleries\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eYear: \u003cstrong\u003e2005\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTitle: \u003cem\u003e\u003cstrong\u003eBattle of St Vincent. Nelson’s Bridge\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist: \u003cstrong\u003eGraham Jowett-Ive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMedium: \u003cstrong\u003eOil\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePrice: \u003cstrong\u003e£750\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTogether with the artist’s letter, this constitutes particularly strong contemporary evidence for the painting’s exhibition history.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance \u0026amp; Exhibition History\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e• \u003cstrong\u003eGraham Jowett-Ive (1946–2012), the artist.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e• \u003cstrong\u003eRoyal Society of Marine Artists, The Mall Galleries, London, 2005\u003c\/strong\u003e, exhibited as \u003cem\u003e\u003cstrong\u003eBattle of St Vincent. Nelson’s Bridge\u003c\/strong\u003e\u003c\/em\u003e, with an exhibition price of £750.\u003c\/p\u003e\n\u003cp\u003e• \u003cstrong\u003eMr E. Joll, Lower Swainswick House, Bath\u003c\/strong\u003e, acquired from the above exhibition in 2005; the purchase is confirmed by Jowett-Ive’s handwritten letter dated 3 November 2005.\u003c\/p\u003e\n\u003cp\u003e• Accompanied by the artist’s \u003cstrong\u003eoriginal preparatory pencil sketch\u003c\/strong\u003e, expressly identified by Jowett-Ive as the sketch from which the painting developed.\u003c\/p\u003e\n\u003cp\u003e• \u003cstrong\u003eIntervening ownership presently unrecorded.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e• \u003cstrong\u003eLittleton Auctions, Evesham, Worcestershire, 1 August 2026, Lot 306\u003c\/strong\u003e, offered together with the corresponding artist’s letter and original pencil sketch; catalogued at that time as \u003cem\u003eBattle of Trafalgar, 1805\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e• \u003cstrong\u003eAcquired and subsequently researched and catalogued by Cheshire Antiques Consultant LTD®, 2026.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e• \u003cstrong\u003ePrivately loaned and exhibited with the Famous Lord Hill Museum.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDocumentary Chain\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe painting, letter and preparatory sketch remained associated when the work appeared at Littleton Auctions.\u003c\/p\u003e\n\u003cp\u003eSubsequent correspondence concerning collection provides additional documentary continuity: Littleton confirmed that the letter and sketch were with the painting when collected and had deliberately been kept together.\u003c\/p\u003e\n\u003cp\u003eThe courier subsequently explained that the documentary material had been placed safely in the vehicle and was inadvertently omitted when the painting itself was delivered, after which arrangements were made for its return.\u003c\/p\u003e\n\u003cp\u003eThis correspondence is retained within the artwork’s research file and provides additional evidence connecting the accompanying archive with Littleton Lot 306.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVisible Canvas \/ Image Area:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e92 cm wide × 62.5 cm high\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOverall Framed Dimensions:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e109 cm wide × 79 cm high × 2.5 cm deep\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe painting has been \u003cstrong\u003erecently reframed\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eLittleton Auctions previously recorded an approximate image size of \u003cstrong\u003e98 × 69 cm\u003c\/strong\u003e. The dimensions above were subsequently measured following reframing and are used for the present catalogue record.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrame and Presentation\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePresented in a recently fitted frame selected to complement the broad historical marine composition.\u003c\/p\u003e\n\u003cp\u003eThe painting is ready to hang and display.\u003c\/p\u003e\n\u003cp\u003eThe frame is a recent presentation element and is \u003cstrong\u003enot represented as original to the painting\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition Report\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe painting presents attractively overall with strong colour, clarity and visual impact.\u003c\/p\u003e\n\u003cp\u003eThe painted surface displays minor age-related marks and scattered spotting consistent with the work’s history.\u003c\/p\u003e\n\u003cp\u003eThe reverse of the canvas shows widespread brown spotting and areas of age-related discolouration.\u003c\/p\u003e\n\u003cp\u003eThese observations are descriptive only. The cause of the spotting has not been established by specialist conservation examination and it is therefore \u003cstrong\u003enot represented as mould, foxing or any other specific condition without further analysis\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe canvas remains mounted upon its wooden stretcher\/support.\u003c\/p\u003e\n\u003cp\u003eThe important original \u003cstrong\u003e2005 RSMA \/ Mall Galleries exhibition label remains preserved verso\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe painting has recently been reframed and is ready for display.\u003c\/p\u003e\n\u003cp\u003eThis condition report records observations made during catalogue preparation and should be read together with the complete photographic record.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWorldwide Shipping\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWorldwide delivery is available.\u003c\/p\u003e\n\u003cp\u003eCheshire Antiques Consultant LTD® has extensive experience in professionally packing and arranging the international delivery of fine art and historic works of art.\u003c\/p\u003e\n\u003cp\u003eThe painting will be carefully protected and professionally packed for transit.\u003c\/p\u003e\n\u003cp\u003eInternational deliveries are normally arranged using a fully tracked courier service. Import duties, customs charges and local taxes, where applicable, remain the responsibility of the buyer.\u003c\/p\u003e\n\u003cp\u003ePlease contact us for further information regarding delivery to your destination.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCertificate of Sale \u0026amp; Dealer Attribution\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe artwork will be supplied with a \u003cstrong\u003eCertificate of Sale \u0026amp; Dealer Attribution issued by Cheshire Antiques Consultant LTD®\u003c\/strong\u003e, recording the artwork’s catalogue details, artist, title, date, medium, dimensions, provenance as stated and details of the sale.\u003c\/p\u003e\n\u003cp\u003eThe certificate accompanies the work as part of its continuing ownership and provenance record.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eoriginal Graham Jowett-Ive letter and preparatory pencil sketch\u003c\/strong\u003e also accompany the painting and should remain with it as integral elements of its documentary archive.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAttribution and Research\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe historical observations, provenance research, subject identification and contextual commentary presented within this catalogue represent the professional opinion of Cheshire Antiques Consultant LTD®.\u003c\/p\u003e\n\u003cp\u003eThey are offered in good faith as informed scholarly assessments based upon the physical artwork, surviving primary documentation, comparative research, published reference material and our experience within the international fine art market.\u003c\/p\u003e\n\u003cp\u003eThe surviving \u003cstrong\u003e2005 exhibition label and Jowett-Ive’s contemporary correspondence provide the principal documentary evidence\u003c\/strong\u003e for the title \u003cem\u003e\u003cstrong\u003eBattle of St Vincent. Nelson’s Bridge\u003c\/strong\u003e\u003c\/em\u003e, the painting’s exhibition history and the relationship between the finished oil and accompanying preparatory drawing.\u003c\/p\u003e\n\u003cp\u003eThe individual identification of vessels within Jowett-Ive’s wider composition is intentionally treated cautiously unless supported by documentary or compelling visual evidence.\u003c\/p\u003e\n\u003cp\u003eThese observations should be understood as professional assessments rather than guarantees of historical interpretation. Future documentary discoveries, archival research or specialist examination may refine, expand or revise aspects of the present catalogue.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCHESHIRE ANTIQUES CONSULTANT LTD®\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSpecialising in carefully curated British and European fine art, antiques and historic works of art.\u003c\/p\u003e\n\u003cp\u003eEvery artwork is professionally researched and catalogued using comparative scholarship, published reference material and more than two decades of experience within the international fine art market.\u003c\/p\u003e\n\u003cp\u003eAdditional photographs and further information are available upon request.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBringing History Into Your Home.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Cheshire Antiques Consultant LTD","offers":[{"title":"Default Title","offer_id":57237634417018,"sku":"CAK-SK-0511","price":8000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0201\/2227\/1808\/files\/NelsonBattleofCapeStVincent.jpg?v=1789212927","url":"https:\/\/cheshireantiquesconsultantltd.com\/it\/products\/draft","provider":"Cheshire Antiques Consultant LTD","version":"1.0","type":"link"}