In the first article of this pair, I looked at some paintings of dreams – as opposed to visions and similar revelatory experiences – from the Renaissance to the early nineteenth century. In these, the convention is to show a composite image including what the dreamer might have seen of their dream had they looked from the position of the viewer, together with the ‘reality’ of the dreamer asleep in the physical world.

William Blake (1757–1827), Jacob’s Ladder, or Jacob’s Dream (1799-1806), pen and grey ink and watercolour on paper, 39.8 x 30.6 cm, The British Museum, London. Courtesy of and © Trustees of the British Museum.

William Blake was influenced by Henry Fuseli, and followed his lead with Biblical and literary stories. Jacob’s Ladder, or Jacob’s Dream from 1799-1806 is one of the simplest and most beautiful of Blake’s large output of watercolours, and was painted for his principal…

Hepworth Museum and Sculpture Park

One sculpture holds a pool of water, a remnant from the rainy day. In it floats a single insect that must be dead but could be merely floating and I watch as the water’s reflection plays on the upper part of the work’s inner surface.

It is quite entrancing to watch – the fluidity of the marks on the smooth surface matching its sweeping curves. What a contrast to the curated gallery encounter. Stupidly, I imagined a horrified museum tour guide discovering the water and exclaiming absurdly, ‘how did this happen?’

The signs say do not touch but I only see this afterwards and so I touch. It would be hard to resist the impulse anyway – outreach my hand toward the pockled green slate who has last been brushed by the winding branch or the delicate petal perhaps. The circular formed embracing – tempted…

In the first article of this pair, I showed a selection of some of the finest paintings of autumn trees from the middle of the nineteenth century up to 1894. Here I continue until around 1918. Enjoy even more!

Georges Lacombe (1868–1916), Chestnut Gatherers (1893-4), oil on canvas, dimensions not known, Norton Simon Museum, Pasadena, CA. Wikimedia Commons.

Georges Lacombe (1893-94), Chestnut Gatherers shows ‘mysterious’ woods in Brittany.

John Ferguson Weir (1841-1926), East Rock, New Haven (c 1901), oil on canvas, 77.5 × 113 cm, Florence Griswold Museum, Old Lyme, CT. Wikimedia Commons.

John Ferguson Weir (c 1901), East Rock, New Haven shows woods near New Haven, Connecticut, with the prominent ‘trap rock ridge’ of East Rock as their backdrop.

Hans Andersen Brendekilde (1857–1942), Wooded Path in Autumn (1902), oil on canvas, 69.8 x 91.4 cm, Private collection. Wikimedia Commons.

Hans Andersen Brendekilde (1902), Wooded Path in Autumn shows woodland…

Versicherung von Schiff und Fracht

Zusage aus London steht aus

Am 5. Oktober 1914 wurde das „Dampfschiff „Fürth“ vom Prisengericht in Colombo als rechtmäßige Prise erklärt und ging damit in das Eigentum der britischen Krone über. SIEHE:Das Dampfschiff „Fürth“ wird kondemniert

Der Abfahrt des Schiffes nach Großbritannien stand also eigentlich nichts mehr im Wege… eigentlich.

Truppen oder Fracht?

Zunächst war beabsichtigt worden, mit der „Fürth“ Truppen nach England zu transportieren.

Auf Ceylon gab es nämlich militärische Reserveeinheiten, die Ceylon Defence Force (CDF). Viele Freiwillige dieser Einheiten reisten nach Ausbruch des Ersten Weltkrieges nach England und schlossen sich der British Army an.

Der Plan, das Dampfschiff „Fürth“ für den Transport von Truppen zu nutzen und das Schiff im Konvoi mit anderen Schiffen segeln zu lassen, wurde jedoch wieder fallen gelassen.

Pier in Colombo, Abbildung aus dem Buch “Wanderings East of Suez in Ceylon, India, China and Japan” von F. C…