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A very desirable painting that splendidly showcases James Gale Tyler’s singular execution through his colourful palette and
palpable impasto, attributes that the artist is so highly regarded and known for. True to form, the work exemplifies Tyler's vivid
and poetic artistic style wonderfully infused with his unique and specific enthusiasm for the sea.
Tyler started his career at age 15 in Oswego (NY) and soon became recognized as a ship’s portrait painter, establishing himself
as one of the most recognized artist in the field. His commissions garnished much attention by critics and collectors alike, and his
work became highly sought after among the wealthy that participated in the popularly emerging gentlemen’s sport of yacht
racing. Indeed, some of Tyler’s most recognized and desirable works are his quasi-illustrative depiction of America’s Cup
racing yachts in action. The artist is indeed credited with painting every yacht to participate in the America’s Cup and
precursory races from 1900 to 1930.
Tyler became one of the most notable maritime painters and illustrators of his day and his popularity can be gauged by the fact
that his works were often forged. It is estimated that in New York City in 1918, more than 100 works falsely carried the artist's
name. When, at the height of his career, Tyler became aware of the number of paintings falsely circulated under his name in
New York, he complained to the district attorney and was able to successfully pursue several civil-action suits. In more recent
times, the fact that these forgeries continue to appear on the market-place may help to explain why original works that are in fact
by the artist have not escalated more in value, making them still very affordable to private collectors.
James Gale Tyler maintained studios in New York City from 1882 through 1899 and in Greenwich, Connecticut from the mid-
1870s until his death in Pelham, New York in 1931, and in Providence (mid-1880s). Although he studied in 1870 with
Archibald C. Smith in New York City, he basically was self-taught. He was a member of the Brooklyn Art Club; the
Salmagundi Club (1893); Artists Fund Society and the Greenwich Society of Artists.
Tyler exhibited extensively at the National Academy, the Providence Art Club, the Boston Art Club and the Brooklyn Art
Association and the PAFA. His work is in permanent collections at the Corcoran Gallery, Washington, DC; Tokyo Museum;
Wadsworth Athenaeum, Hartford, CT; Omaha Museum of Art, NB; Mariner’s Museum, N.Y. Historical Society and
elsewhere. Works by Tyler can also be found in numerous important private collections.
Listed: Art Across America, Vol. I & III by William Gerdts; 300 Years of American Art; Who Was Who in American Art;
ADEC; Davenport’s; E. Benezit; ArtNet; Askart; Mallet’s, Fielding’s, Classified Dictionary of Artist’s Signatures &
Monograms; Dictionary of Sea Painters, and many others. An extensive listings folder accompanies the painting.
palpable impasto, attributes that the artist is so highly regarded and known for. True to form, the work exemplifies Tyler's vivid
and poetic artistic style wonderfully infused with his unique and specific enthusiasm for the sea.
Tyler started his career at age 15 in Oswego (NY) and soon became recognized as a ship’s portrait painter, establishing himself
as one of the most recognized artist in the field. His commissions garnished much attention by critics and collectors alike, and his
work became highly sought after among the wealthy that participated in the popularly emerging gentlemen’s sport of yacht
racing. Indeed, some of Tyler’s most recognized and desirable works are his quasi-illustrative depiction of America’s Cup
racing yachts in action. The artist is indeed credited with painting every yacht to participate in the America’s Cup and
precursory races from 1900 to 1930.
Tyler became one of the most notable maritime painters and illustrators of his day and his popularity can be gauged by the fact
that his works were often forged. It is estimated that in New York City in 1918, more than 100 works falsely carried the artist's
name. When, at the height of his career, Tyler became aware of the number of paintings falsely circulated under his name in
New York, he complained to the district attorney and was able to successfully pursue several civil-action suits. In more recent
times, the fact that these forgeries continue to appear on the market-place may help to explain why original works that are in fact
by the artist have not escalated more in value, making them still very affordable to private collectors.
James Gale Tyler maintained studios in New York City from 1882 through 1899 and in Greenwich, Connecticut from the mid-
1870s until his death in Pelham, New York in 1931, and in Providence (mid-1880s). Although he studied in 1870 with
Archibald C. Smith in New York City, he basically was self-taught. He was a member of the Brooklyn Art Club; the
Salmagundi Club (1893); Artists Fund Society and the Greenwich Society of Artists.
Tyler exhibited extensively at the National Academy, the Providence Art Club, the Boston Art Club and the Brooklyn Art
Association and the PAFA. His work is in permanent collections at the Corcoran Gallery, Washington, DC; Tokyo Museum;
Wadsworth Athenaeum, Hartford, CT; Omaha Museum of Art, NB; Mariner’s Museum, N.Y. Historical Society and
elsewhere. Works by Tyler can also be found in numerous important private collections.
Listed: Art Across America, Vol. I & III by William Gerdts; 300 Years of American Art; Who Was Who in American Art;
ADEC; Davenport’s; E. Benezit; ArtNet; Askart; Mallet’s, Fielding’s, Classified Dictionary of Artist’s Signatures &
Monograms; Dictionary of Sea Painters, and many others. An extensive listings folder accompanies the painting.
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| Additional Images |
| James Gale Tyler American, 1855 - 1931 "Calm Day on Long Island Sound" Oil on Lined Canvas measures 18" x 24" Signed and dated 1921, lower left |