Large Painting High Tide off Trebarwith Strand” Dramatic Cornish Shipwreck Masterpiece by Charles Sim Mottram RBA, 1894

High Tide off Trebarwith Strand” Dramatic Cornish Shipwreck Masterpiece by Charles Sim Mottram RBA, 1894 Subject & Medium A powerful late-Victorian marine watercolour by Charles Sim Mottram, titled “High Tide off Trebarwith Strand” and dated 1894. The subject is the wild north Cornish coast at Trebarwith Strand, near Tintagel – a steep, cliff-backed beach facing directly onto the Atlantic. A full-rigged sailing vessel has run aground just beyond the line of surf and is breaking up on unseen rocks. The stern lifts and falls in the swell; shattered masts and spars lean at dangerous angles. On the beach below the cliffs, a crowd of fishermen, lifeboat men and local villagers rush to the water’s edge as the drama unfolds. Executed in watercolour with bodycolour (white heightening) on paper, this is an original 19th-century work, not a print or reproduction. Composition & Technique Mottram structures the scene as a wide, panoramic strip, allowing the viewer to read the entire story from foreground to horizon. In the foreground, wet sand catches and reflects the light; tracks, footprints and small pools mark where the tide has recently retreated. A strong diagonal of figures leads the eye from the lower left towards the centre: fishermen in traditional sou’wester caps and work clothes brace themselves against the pull of thick, tarred lines and wreckage that disappear into the surf. Some lean forward with their full weight; others steady the line or gesture urgently towards the wreck. Closer to the cliffs, further fishermen and children stand in small groups, hands raised to shade their eyes as they watch events offshore. In the middle distance, heavy Atlantic rollers are built up in layered bands of blue-grey and green. Mottram breaks the crests with dense bodycolour to capture foam and flying spray, giving the water real weight and movement. The stricken ship sits just beyond the main line of breakers, its dark hull and jagged spars cutting sharply against the paler surrounding water. Fragments of rigging and broken mast reinforce the sense of chaos and imminent loss. In the distance, a headland and lower cliffs close the composition, anchoring it in a specific Cornish setting, while a low, layered sky presses down over the scene. Gulls wheel above the wreck, described with a few acute strokes that add life and scale. Technically, the work shows confident use of broad transparent washes for sky and distance, firmer modelling for cliffs and figures, and crisp, opaque highlights for foam, spray and key details. The balance between accurate drawing and expressive brushwork is exactly what collectors expect from a serious Victorian marine watercolour. The Artist Charles Sim Mottram RBA (British, 1852–1919) was a respected late-Victorian marine and coastal painter. Based in London, he travelled extensively to the west and south-west coasts of Britain, with Cornwall providing some of his most dramatic material. He specialised in shipwrecks, lifeboat launches and storm-beaten seas, as well as quieter harbour scenes and coastal views. His work was regularly exhibited in London, including at the Institute of Painters in Water Colours (later the Royal Institute), and is valued for its combination of narrative drama and closely observed sea and weather effects. Mottram is sometimes confused with the earlier engraver Charles Mottram, but this painting is unequivocally by Charles Sim Mottram, the marine painter: the signature, subject matter, dating and watercolour handling are all characteristic of his work. His Cornish coastal scenes are particularly sought after, with a St Ives subject achieving $20,129 (USD) at Tennants in 2013. Historical Significance This watercolour is a finely judged, securely dated example of Mottram’s mature marine work. It captures not only the raw power of the Atlantic against the north Cornish coast, but also the collective response of a coastal community: men risking themselves at the water’s edge, women and children watching anxiously from slightly higher ground. Trebarwith Strand is a much-loved and dramatic stretch of coastline, and works that combine: A specific, recognisable Cornish location Large exhibition scale Strong narrative content (shipwrecks, lifeboat activity, coastal communities) are especially attractive and highly valued by collectors of Cornish art and British marine painting. The original late-19th-century exhibition-type label on the reverse, giving the full title, location, artist’s name, London banking address and original price, ties the work directly to the Victorian exhibition and retail system. It confirms that this was conceived and presented as a substantial, professional piece rather than as a minor sketch or studio fragment. Provenance & Exhibition Originally exhibited in a London watercolour exhibition in the late 19th century, as indicated by the original exhibition-type label on the reverse, entirely consistent with the practices of the Institute of Painters in Water Colours (later the Royal Institute). The label is inscribed with the title “High Tide”, the location “off Trebarwith Strand”, the artist’s name and his London banking address, “c/o London & County Bank, High Holborn W.C.”, together with the original price in manuscript. Thence retained in private ownership in the United Kingdom; later in a private collection in Gwynedd, Wales, where both the painting and label were preserved. Subsequently offered and sold through a notable North West–based auction house, label verso. Curated by Cheshire Antiques Consultant LTD and exhibited in “Atlantic Drama: Shipwrecks & Lifeboat Heroes on the Cornish Coast”, Winter 2025, Famous Lord Hill Museum, among a selection of significant British marine and Cornish coastal works from private collections. Now offered from this curated collection. Signature The painting is signed at the lower right “Chas S Mottram 94”, confirming both the artist and the 1894 date. The signature is clear, fluent and consistent with other known examples by Charles Sim Mottram. On the reverse label the artist again writes his name as “Chas S Mottram”, providing an additional, independent confirmation of authorship in his own hand. Frame & Glazing The watercolour is presented in an attractive gilt moulded Larson-Juhl frame, recently professionally fitted. This high-quality contemporary moulding is sympathetic to both the period and the subject, giving the work a classic, gallery-ready appearance while ensuring that structure and materials meet modern standards. An inner slip further sets off the image and adds visual depth. To the front, the work is protected by AR70 glass – a premium low-reflection glazing that significantly reduces glare and provides enhanced UV filtration compared with standard glass. This improves viewing in modern interiors (especially under artificial light or near windows) and helps protect the delicate watercolour pigments from light damage over time. As the frame has been recently installed, it presents very cleanly, with only the most minimal handling marks. It is ready to hang. Framed Size Overall framed dimensions: 67.5 cm high × 109.5 cm wide × 3 cm deep The wide panoramic format and substantial size give the painting real presence on the wall. It is considerably larger than many Victorian watercolours and works particularly well above a sofa, sideboard, fireplace or in a stairwell, where its sweep, detail and narrative can be fully appreciated. Why This Painting Stands Out Dramatic late-Victorian shipwreck scene on the rugged Cornish coast at Trebarwith Strand, rich in narrative and human interest. Large, exhibition-scale watercolour with an impressive panoramic format that makes a genuine statement on the wall. Well-documented work by Charles Sim Mottram, complete with original Victorian exhibition-type label giving title, location, name and London banking address, plus a recent curated museum exhibition history. Combines strong regional and historical appeal (Cornwall, Trebarwith Strand, Victorian maritime life) with excellent decorative impact for both traditional and contemporary interiors. Professionally presented in a recently fitted gilt Larson-Juhl frame with AR70 low-reflection, UV-filtering glass – visually impressive, well protected, and ready to hang and enjoy immediately.