The Battle of the First of June, 1794 (1795)

On June 1, 1794 the British and French forces clashed in the Atlantic Ocean about 400 nautical miles west of the island of Ushant, the culmination of a month-long campaign across the Bay of Biscay that included the capture of merchant ships, smaller warships, and two inconclusive fleet actions.
 
A French fleet under the command of Rear-Admiral Villaret-Joyeuse had sailed from Brest earlier in May to intercept a vital convoy of grain from the United States to France, and the British Channel Fleet under the command of Admiral Lord Howe had in turn sailed to confront the French. Neither side encountered the convoy, which reached Brest in safety, and instead the two fleets made contact on May 28.

Plan of Lord Howe's action off Ushant.
Ink and watercolor sketch by James Gillray, formerly attributed to Philip James de Loutherbourg. 

1794. British Museum.

As Royal Museums Greenwich summarizes, "In the opening engagement Howe disabled the three-decker 'Révolutionnaire', 110 guns. On 29 May he cut the French line to leeward and for the next two days the fleets manoeuvred in fog and out of contact until Howe brought the French to full action and defeat on 1 June approximately 225 nautical miles (416 km) further west. Six French ships of the line were taken and one sunk."

The Battle of the First of June 1794. Oil on canvas.

Philippe-Jacques de Loutherbourg, London, 1795.

Royal Museums Greenwich

Painter Philippe-Jacques de Loutherbourg celebrated this victory in his monumental 1795 painting, The Battle of the First of June, 1794 (originally exhibited in 1795 as Earl Howe's Victory over the French Fleet), the subject of today's post. As the curator's note for RMG states,

"Using man's heroic struggle against the sea itself to enhance the conflict of the opposing fleets, the artist's response is in the Romantic tradition, depicting both the dramatic and human nature of the event."

Several events unfold in the painting, whose composition is dominated by the fight between the flagships:

• the duel between the opposing flagships "Queen Charlotte" on the left (100 guns, commanded by Howe) and "Montagne" on the right (120 guns, commanded by Villaret-Joyeuse)
• the sinking of the "Vengeur du Peuple", port-broadside view, in the left background
• the smoke the topsails of other ships
• the attempts to rescue the crew of the Vengeur crew by other ships and an English boat in the right foreground
• several more English boats rescuing drowning Frenchmen in the left foreground

The effect of the British fire shows in the confusion aboard the Montagne and the bodies falling from her gun ports. Meanwhile the Queen Charlotte has lost her fore-topmast, which resulted in her dropping astern of the Montagne and never managing to engage with the ship in the position as shown in the painting and thus capture the French flagship. The portrayal of this detail "reportedly led to disapproval of the picture by Lord Howe and more so by his Master of the Fleet, James Bowen.. The latter considered it a slur on the 'Queen Charlotte' on the grounds that the French flagship would not have escaped, had he managed to get alongside her in the way shown."

Philippe Jacques de Loutherbourg, self portrait. Oil on canvas. 1805-1810. 

National Portrait Gallery, London.

De Loutherbourg was a Strasbourg-born painter and member of the French Academy who moved to London in 1771 at the request of actor David Garrick, where he worked as the scenic director at the Theatre Royal, Drury Lane until 1785. He was an acclaimed theater designer and continued his success as a painter with a career in England as a Romantic landscape painter. His other famous nautical paintings include The Battle of Camperdown (1799).

Loutherbourg was elected to the Royal Academy in 1781 and exhibited there most years until his death in 1812. The Battle of the First of June is signed and dated 'P J de Loutherbourg RA 1795'.

The artist James Gillray assisted with the sketching and painting of the figures, and both men composed a number of sketches in preparation for the painting. Loutherbourg went to Portsmouth to view the prizes, and a surviving letter from 1808 states that he went on board the 'Sans Pareil' at least once. From the perspective of the student of maritime costume the studies show no more than indistinct figures in caps and jackets.

Leaf from a sketchbook, for the picture of Lord Howe's Victory, by Philip James de Loutherbourg. 1794.

Pen and black ink with grey wash, over graphite. British Museum.

Ships in battle, study for the painting of 'Lord Howe's Victory', by Philip James de Loutherbourg. 1794. 

Pen and black ink with grey wash, over graphite. British Museum.

Other related sketches in the collection of the British Museum by Gillray and Loutherbourg can be viewed here (sketches of ships with signal flags and a French buoy), here (study of the Queen Charlotte's rigging), here (study of a ship's bow), and here (study of  "Le Juste" and "L'Amerique").

Loutherbourg's painting was commissioned for issue as an engraving for £500, to be paired with his 1794 painting "'The Grand Attack on Valenciennes'". The paintings were sold into private hands after they were exhibited, and First of June was ultimately purchased by the Prince of Wales, becoming part of the Royal Collection. Upon the Prince's ascension as George IV in 1820 and removal to St. James's Palace the painting needed a pendant (a painting of a similar size and theme), which led to JMW Turner's only royal commission, his 1824 painting of the Battle of Trafalgar. This controversial work was delivered in 1824. Turner's painting was poorly received by the public for its inaccuracy and lack of a display of proper heroic action, and the King ordered the removal of both works from St James's to the Naval Gallery at Greenwich Hospital in 1829.

Loutherbourg's painting is not a perfectly accurate depiction of the battle it portrays, but unlike Turner's painting - where the shooting of Nelson disappears into a wild riot of canvas and carnage - the image is a decidedly traditional, patriotic, and heroic image, with considerable care taken in the accuracy of the details, such as which flags the ships were flying.

Amidst the grandeur of the battle the foreground is filled with men in smallboats struggling against the sea to help the men in it, demonstrating compassion to the defeated enemy. In the extreme right of the picture is an English ship, in port-bow view, possibly the "Brunswick", with figures French sailors clinging to a mast.

In the middle of the painting two more boats of English sailors are pulling men aboard. The sailors are dressed in a variety of garments, including blue and white trousers, blue checked and white shirts, black felt round hats, blue jackets with open mariner's cuffs, and red waistcoats. In the boat on the right in this detail notice the man to the furthest right in the boat and the man towards the bow in what look like straw hats - a very interesting detail.

On the right an English lieutenant stands in another boat while his crew help the drowning French sailors aboard. The English sailors are largely in their shirtsleeves. A man in the background wears a white shirt and red waistcoat, while a sailor helping a French sailor aboard wears a blue jacket and white trousers. Several others wear white shirts and black handkerchiefs. with waistcoats in white or tan. One man in shirtsleeves reaching overboard to grab a French sailor's hand has short pale hair, clearly curled at the bottom in a bob.

A True British Tar, 1795

"A True British Tar" Royal Museums Greenwich.

Today's image, drawn by James Gillray, and published by Hannah Humphrey, both of London, has an interesting story behind it. While at first glance it might appear to show a common British tar, the exaggerated features of the sailor's face and a reference in the lines below the portrait makes this a clear satire of Prince William Henry, Duke of Clarence, a professional naval officer with Nelson as well as his friend, and the future William IV.

The print shows him as a ‘tar’ in stereotypical sailor clothing: a misshapen black hat, blue jacket, and striped trousers, with a printed neckerchief. The text reads

Damn all Bond-Street-Sailors I say, a parcel of smell-smocks!
They'd sooner creep into a Jordan than face the French!- dam me!' 

"Jordan" was slang for a chamber-pot, but here refers to Dorothea Jordan, the Prince’s actress-mistress and mother of his illegitimate children, the FitzClarences. The pun gave rise to far cruder satires than this print. (1)

Gillray's reference to the lewd behavior of the "Bond-Street Sailors" is thus a veiled "criticism of the Duke's own decadent life style. Any real scorn is so deeply embedded in visual and verbal innuendo that Gillray would have nothing to fear by turning his attention to the high-ranking royal." (2)

"A True British Tar" Royal Museums Greenwich.

In both images the prince wears a blue (or purple) coat with small yellow buttons and mariner's cuffs with one button worn open, a double-breasted white waistcoat with small yellow buttons, and striped trousers with yellow buttons - red in one image, blue in another. A truly massive yellow and red handkerchief that looks more like a woman's fichu with a fringed edge visible is tied tightly around his neck, completely covering his collar and shoulders. His straight blond hair hangs limply around his face, and a strange smushed black hat sits on top of his head.

References:
1. Description note from A True British Tar (caricature) - National Maritime Museum. Accessed 23 Dec. 2016. http://collections.rmg.co.uk/collections/objects/127946.html
2. Davey, James, and Richard Johns. Broadsides: Caricature and the Navy 1756-1815. Seaforth Publishing, in Association with the National Maritime museum, 2012. P. 19.