Chapter One
Belfast’s 17th century beginnings and subsequent development. The changing face of seaborne trade. Yesterday’s portrait painters. Academic and vernacular art. The ‘specialised’ ship portrait. The role and status of Britain’s 19th century ship portrait painters. Ulster clients patronise Liverpool maritime artists. The indirect effects of a geological oddity on maritime trade and the related ship portrait market.
Chapter Two
Searching for ‘Joseph Semple of Belfast’ - chance and a transatlantic clue lead to Londonderry. The McCorkell Line of Londonderry ship portrait collection, a record of the port’s forgotten past. Semple’s personal and family details. Londonderry’s strategic location in the days of transatlantic sail. Steam heralds Londonderry’s decline and the dominance of Belfast.
Chapter Three
The Semple family of artists. Joseph’s contribution as a marine artist. His stylistic characteristics, signature and favoured topographical backgrounds. A catalogue raisonné of over fifty ship portraits by Joseph Semple.Chapter Four
Some lesser known 19th century Belfast ship portrait painters William H Weaver, Thomas Johnston, and William H McIlvenny. Coastal and short haul steamers - the twilight of the traditional ship portrait painter. Advancing technology and social change mobilise the masses. Competition, Advertising & Publicity produce the ‘Poster Artist’.
Chapter Five
19th century flag codes for merchant ships including Marryat’s Code, Commercial Code, The Liverpool (or Watson’s) Code. Their application to maritime paintings
Appendix 1
Key to the Marryat Code ship numbers (1817-1879), including the rare 1840 7th edition
Appendix 2
Key to the Watson (or Liverpool) Code ship
numbers (1827-1840)
Appendix 3
Other Ulster paintings, lacking an illustration