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A four-masted barque seen from the deck of the 'Birkdale'. This painting was previously wrongly titled as showing the 'Cutty Sark' in the distance. The distant vessel is a rather bigger four-masted barque - a rig never used on 'C
1920
National Maritime Museum

A Scene from the Deck of the 'Birkdale'. A scene from the deck of the 'Birkdale, showing sail-mending on a sunny day. The painting shows figures on the deck attending to the sails laid out on the surface. A seaman sits on a bench on the far
1920
National Maritime Museum

A Ship in the Moonlight. An atmospheric evocation of a ship in the moonlight. Everett has exploited the dark tones of the paper to enhance the visual effect of night-time. The length of the paper emphasizes the visual relationship between moon, sky, sea a
1920
National Maritime Museum

Admiral Sir Frederick Doveton Sturdee, 1859-1925. A half-length sketch portrait of Sir Frederick Doveton Sturdee by society painter Sir Arthur Stockdale Cope. The sitter leans on his right arm and looks to the left, his hands loosely suggested as clasped
1920
National Maritime Museum

At the Tropic of Cancer from the 'Birkdale'. A preparatory sketch showing a sail of the 'Birkdale, on the far right. The main part of the sketch is taken up with thin layered paint in lilac and purple to represent the sea and pink and blue
1920
National Maritime Museum

Boarding the far tack on the 'Birkdale'. Everett joined the barque, ‘Birkdale’, and sailed from Bristol to Sabine Pass, Texas between April and June 1920. This was the first journey he undertook after World War I. The ‘Birkdale
1920
National Maritime Museum

Gulf of Mexico from the 'Birkdale'. A sketch looking towards an empty horizon in the Gulf of Mexico, from the deck of the 'Birkdale'. The artist has experimented with colour and shape to create the dramatic sky and cloud effects. Short
1920
National Maritime Museum

Gulf of Mexico from the 'Birkdale'. An impressionistic sketch showing the Gulf of Mexico from the 'Birkdale'. The calm sea is loosely painted and forms a visual contrast to the dark sky. A bank of cloud sits horizontally across the pai
1920
National Maritime Museum

Mending sails on the deck of the 'Birkdale'. A scene on the deck of the 'Birkdale', looking forward from the poop deck. This complex composition shows the barque in full sail on a calm sea. The surface of the deck is covered with sails
1920
National Maritime Museum

Sabine, Texas, from the 'Birkdale'. A sketch capturing the vivid effect of the sky and sea off the coast of Sabine, Texas. Everett has used powerful brush strokes and vibrant explosions of colour to capture the desired visual appearance. The loo
1920
National Maritime Museum

Seascape from the 'Birkdale'. A dramatic sketch from the 'Birkdale', showing the effects of cloud hovering over the Gulf of Mexico. The artist has used form and colour to create a dramatic effect. The clouds hover against a flat blue s
1920
National Maritime Museum

Seascape from the 'Birkdale'. A painting showing the movement of waves from the 'Birkdale'. They are arranged diagonally across the painting, breaking into pronounced crests of thickly applied white paint. The sea in the foreground on
1920
National Maritime Museum

Seascape from the 'Birkdale'. A rapid sketch from the 'Birkdale' showing the effect of the sun on the sea and sky. The sea is loosely painted with small brush strokes to indicate the movement of the waves. The sky is shown as a band of
1920
National Maritime Museum

Seascape from the 'Birkdale'. A rapid sketch from the 'Birkdale' showing the effects of cloud formation on an empty horizon. The cloud spreads across the sky as a dark blue mass. A dark line marks the point where the sea and sky meet o
1920
National Maritime Museum

Seascape from the 'Birkdale'. A rapid sketch from the 'Birkdale'. Everett has used colour to convey the effects of light on the sea and sky. He has contrasted the dark green sea with the pale coloured sky, and the dark dramatic clouds.
1920
National Maritime Museum

Seascape from the 'Birkdale'. A rapid sketch from the deck of the 'Birkdale' showing a empty horizon. The sea is flat calm and painted in blue washes with short coloured brush strokes indicating waves. This contrasts with the pale sky
1920
National Maritime Museum

Seascape from the 'Birkdale'. A rapid sketch from the deck of the 'Birkdale', showing a dramatic cloud effect on the horizon. Everett has used form and colour to create the sensation of hovering storm clouds. The sky is shown as light
1920
National Maritime Museum

Seascape from the 'Birkdale'. A rapidly painted sketch form the 'Birkdale'. Everett has used colour to show the effects of cloud over the sea. The upper clouds are painted using several tones of pink to indicate the rays from the sun.
1920
National Maritime Museum

Seascape from the 'Birkdale'. A rapidly painted sketch from the 'Birkdale'. In this loosely painted sketch Everett has recorded the effect of light on cloud. The vivid pink cloud contrasts with the pale blue sky and deeper blue of the
1920
National Maritime Museum

Seascape from the 'Birkdale'. A seascape from the 'Birkdale', showing a four-masted sailing ship on the horizon. The loosely constructed sketch shows a wide expanse of sea. This forms the main purpose of the composition and concentrate
1920
National Maritime Museum

Seascape from the 'Birkdale'. A seascape from the deck of the 'Birkdale'. A sailing ship is shown in the middle distance towards the horizon. In the foreground waves are shown on the left dashing against the side of the 'Birkdale&
1920
National Maritime Museum

Seascape from the 'Birkdale'. A seascape of a sunset, from the deck of the 'Birkdale'. The artist has used colour and form to convey the dramatic effects of the sun's glow on the sea and the sky. The sea is shown dark blue with st
1920
National Maritime Museum

Seascape from the 'Birkdale'. A seascape of an empty horizon from the 'Birkdale'. Through colour and form it concentrates on the visual effects of cloud shown as smudges of vivid colour. The sky on the right is shown as a flat wash of
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch from the 'Birkdale' showing a calm sea. Everett has created his desired effect using form and colour. The sun is high in the sky and throws strong reflections over the surface of the water in thic
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch from the 'Birkdale' showing a calm sea. The silhouette of a sailing ship is outlined loosely on the horizon. The effects of brilliant light are created by the sun, quite low in the sky, painted in
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch from the 'Birkdale'. Everett has used colour to demonstrate the light effects of the sun on the sky and sea. The sea is shown in tones of mauve, purple and lilac and the sky with a bank of light c
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch from the deck of the 'Birkdale', showing cloud formation and the effects of weather and light. The artist has concentrated on the cloudburst on the far right, falling from clouds shown as a block
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch from the deck of the 'Birkdale', showing the sea and sky. The sea has been loosely painted as bands of horizontal colour with a few waves implied by short brush strokes in the foreground. The main
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch of a seascape made from the 'Birkdale'. In this loosely worked sketch Everett has used broad brush strokes and blocks of colour to convey the scene. In the foreground thick impasto paint has been
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch of an empty horizon from the deck of the 'Birkdale'. Taken from a low viewpoint Everett explores the relationship between sea and sky through the reflections from the sun. He has painted the waves
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch of an empty horizon from the deck of the 'Birkdale'. The artist has impressionistically suggested sky and sea with minimal brush strokes to achieve a dramatic effect. The sketch concentrates on th
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch of sea and sky, looking towards an empty horizon from the deck of the 'Birkdale'. The sea is shown as a series of short diagonal brush strokes. Alternating between light and dark, they indicate th
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch showing an empty horizon from the 'Birkdale'. The artist has used colour and form to convey the effects of sunlight on the surface of the sea and sky. The sea is shown as a series of short brush s
1920
National Maritime Museum

Seascape from the 'Birkdale'. A sketch showing the dramatic effects of colour in the sky created by the setting sun. The painting was made during Everett's trip on the 'Birkdale'. He has concentrated on the moment the sun hovers o
1920
National Maritime Museum

Seascape from the 'Birkdale'. An atmospheric sketch of an empty horizon from the 'Birkdale'. Through colour and form Everett has conveyed an image of calm showing a flat sea and the sun high in the sky. The painting is an evocation of
1920
National Maritime Museum

Seascape from the 'Birkdale'. An empty horizon from the deck of the 'Birkdale'. Everett has used form and colour to create the seascape. The sea is shown as a series of loosely painted diagonal peaks and troughs. The sky is streaked wi
1920
National Maritime Museum

Seascape from the 'Birkdale'. An empty horizon showing the effects of clouds from the deck of the 'Birkdale'. Everett has used form and colour to create a highly dramatic effect. A blue-grey mass of cloud hovers above the horizon and o
1920
National Maritime Museum

Seascape from the 'Birkdale'. An impressionistic sketch of a seascape looking towards an empty horizon, from the deck of the 'Birkdale'. The artist has concentrated on the bank of cloud on the right towards the horizon and uses colour
1920
National Maritime Museum

Seascape from the 'Birkdale'. An impressionistic sketch of a sunset from the deck of the 'Birkdale'. The sea is shown flat calm with the profile of land against the skyline, visible in the distance on the right and left. The effects of
1920
National Maritime Museum

Seascape, Bermuda from the 'Birkdale'. A seascape showing a dark mass of cloud over the sea, from the deck of the 'Birkdale'. Everett has used form and colour to evoke the highly stylized effect. The large bank of cloud stands out agai
1920
National Maritime Museum

St Michael, Azores, from the 'Birkdale'. A sketch looking towards the island of St Michael, Azores, from the 'Birkdale'. The artist has shown the land in profile as a dark blue mass on the horizon. Above is a block of lighter blue rep
1920
National Maritime Museum

The 'Birkdale', Showing the Saloon with Captain and Mate. On 22 April 1920, Everett sailed from Bristol for Sabine, Texas, as third mate of the barque 'Birkdale'. This voyage resulted in many drawings and paintings. The 'Birkdale,
1920
National Maritime Museum

The deck of the 'Birkdale' in a storm. A dramatic scene showing figures on the deck of the 'Birkdale' during a storm. The format of the painting enhances the dramatic effect together with the emphasis on the vertical mast on the left.
1920
National Maritime Museum

The Deck of the 'Birkdale'. A view of the deck of the 'Birkdale', showing selected elements of the ship. Everett has concentrated on such detailing as coiled rope, chains, capstan and cable-holders. These are used to create a series of
1920
National Maritime Museum

The deck of the 'Birkdale'. On 22 April 1920, Everett sailed from Bristol for Sabine, Texas, as third mate of the barque 'Birkdale'. This voyage resulted in many drawings and paintings. The 'Birkdale', built in 1892, was the
1920
National Maritime Museum

Yucatan Straits, Gulf of Mexico, from the 'Birkdale'. A dramatic sketch showing cloud formation over the sea in the Straits of Yucatan, Mexico. This is one of the most treacherous bodies of water in the Caribbean Sea, notorious for its strong no
1920
National Maritime Museum

La Rochelle: fishing boats at the Quai des Dames, in front of the fish market. The view looks north from the basin of the inner harbour of La Rochelle, across the Quai des Dames and up the Rue Saint-Jean-du-Perot to the 17th-century entrance of the fish
1920s
National Maritime Museum

La Rochelle: fishing boats at the Quai des Dames, in front of the fish market. This is a looser and more subdued version of BHC1408, for which it may be a preliminary study: see that entry for fuller information. Two other examples (BHC1846 and BHC1852) a
1920s
National Maritime Museum

La Rochelle: fishing boats at the Quai des Dames. Previously titled ' A fishing vessel', this is one of several such harbour studies by Everett, all apparently of what used to be the main fish-landing wharf at La Rochelle, the broad Quai des Dam
1926
National Maritime Museum

La Rochelle: fishing boats in the harbour. Previously titled 'Harbour Scene, France', this painting appears to be one of four showing fishing boats airing their sails at or off the Quai des Dames, the north side of the inner harbour at La Rochel
1926
National Maritime Museum

The 'Cutty Sark' at Sunset. Oil painting by the British artist John Everett of the 'Curry Sark' at Sunset. By the 1930s, Everett was experimenting with unusual compositions, rhythmic shapes and contrasting colours. The waves are painte
1920s-30s
National Maritime Museum

Seascape. 'Seascape'.
May 1920
National Maritime Museum