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Sir William Charles Ross, 1794 - 1860 Portrait of Admiral Sir David Milne Gcb 1763 – 1845
Artware Fineart
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Sir William Charles Ross, 1794 - 1860 Portrait of Admiral Sir David Milne Gcb 1763 – 1845

19th century
For Sale by Artware Fineart
Description

Sir William Charles Ross, 1794 - 1860

Portrait of Admiral Sir David Milne GCB 1763 – 1845

pencil and watercolour

30 x 23 cm. (11.3/4 x 9in.)

Milne, Sir David (1763–1845), naval officer, was born at Musselburgh, near Edinburgh, on 25 May 1763, the eldest son of David Milne (1734–1818), a silk merchant of Edinburgh, and his wife, Susan, the daughter of Robert Vernor of Musselburgh. He entered the navy in May 1779 on board the Canada, with Captain Hugh Dalrymple, and, continuing in the same ship with Sir George Collier and Captain William Cornwallis, was present at the second relief of Gibraltar, at the capture of the Spanish frigate Leocadia, at the operations at St Kitts in January 1782, in the actions off Dominica on 9 and 12 April 1782, and in the disastrous hurricane of 16–17 September 1782. On arriving back in England he was appointed to the Elizabeth (74 guns), but she was paid off at the peace. Having no prospect of further employment, Milne entered the merchant service of the East India Company, and continued in it for a decade until the outbreak of the war in 1793, when he joined the Boyne, going out to the West Indies with the flag of Sir John Jervis. On 13 January 1794 Jervis promoted him lieutenant of the Blanche, in which, under the command of Captain Robert Faulknor, he repeatedly distinguished himself, and more especially in the celebrated capture of the Pique (5 January 1795). When, after a very severe action, the Pique surrendered, neither ship had a boat that could float, and the prize was taken possession of by Milne and ten seamen swimming to her. For his gallantry he was promoted commander of the sloop Inspector (26 April 1795). On 2 October 1795 he was made captain of the frigate Matilda in reward for his service as superintendent of transports, an office he continued to hold while the Matilda cruised under the command of her first lieutenant.

In January 1796 Milne was appointed, at his own request, to the Pique and was stationed at Demerara for the protection of trade. The governor forwarded to him on 16 July a memorial from the resident merchants saying that the admiral had promised them a convoy to St Kitts by 15 July; that, if their ships waited longer, they would miss the convoy to England; and that if they sailed without convoy they would forfeit their insurance. Milne consented to take them to St Kitts. As he arrived there too late for the convoy to England, on the further representation of the masters of the vessels he took charge of them for the voyage home, and anchored at Spithead on 10 October. On the 11th he wrote to the Admiralty explaining his reasons and enclosing copies of the correspondence with the governor and merchants of Demerara. His conduct, under the exceptional circumstances, was approved, and the Pique was attached to the Channel Fleet. She was thus involved in the mutinies at Spithead in 1797, and when these were suppressed was actively employed on the coast of France. On 29 June 1798, in company with the frigates Jason and Mermaid she fell in, near the Penmarks, on the south coast of Brittany, with the French frigate Seine (40 guns) and brought her to action, suffering severely before the Jason could come up. The three all went aground, and after an obstinate fight the Seine surrendered as the Mermaid also drew near. The Jason and Seine were afterwards floated off, but the Pique, being bilged, was abandoned and burnt. Milne, with her other officers and men, brought the Seine to England, and on her being bought into the British navy was appointed to command her.

In October 1799 Milne went on the west coast of Africa, whence, some months later, he convoyed the trade to the West Indies. In August 1800 he was cruising in the Mona passage, and on the morning of the 20th sighted the French frigate Vengeance, the same size and strength as the Seine. The Vengeance endeavoured

Declaration

Artware Fineart has dated this 19th Century Portrait Drawing to the 1800s.

Reference Numbers
Sellingantiques Reference
SA398309
Dealers Internal Reference
3860
Description
Sir William Charles Ross, 1794 - 1860

Portrait of Admiral Sir David Milne GCB 1763 – 1845

pencil and watercolour

30 x 23 cm. (11.3/4 x 9in.)

Milne, Sir David (1763–1845), naval officer, was born at Musselburgh, near Edinburgh, on 25 May 1763, the eldest son of David Milne (1734–1818), a silk merchant of Edinburgh, and his wife, Susan, the daughter of Robert Vernor of Musselburgh. He entered the navy in May 1779 on board the Canada, with Captain Hugh Dalrymple, and, continuing in the same ship with Sir George Collier and Captain William Cornwallis, was present at the second relief of Gibraltar, at the capture of the Spanish frigate Leocadia, at the operations at St Kitts in January 1782, in the actions off Dominica on 9 and 12 April 1782, and in the disastrous hurricane of 16–17 September 1782.

On arriving back in England he was appointed to the Elizabeth (74 guns), but she was paid off at the peace.
Artware Fineart

Having no prospect of further employment, Milne entered the merchant service of the East India Company, and continued in it for a decade until the outbreak of the war in 1793, when he joined the Boyne, going out to the West Indies with the flag of Sir John Jervis. On 13 January 1794 Jervis promoted him lieutenant of the Blanche, in which, under the command of Captain Robert Faulknor, he repeatedly distinguished himself, and more especially in the celebrated capture of the Pique (5 January 1795). When, after a very severe action, the Pique surrendered, neither ship had a boat that could float, and the prize was taken possession of by Milne and ten seamen swimming to her. For his gallantry he was promoted commander of the sloop Inspector (26 April 1795). On 2 October 1795 he was made captain of the frigate Matilda in reward for his service as superintendent of transports, an office he continued to hold while the Matilda cruised under the command of her first lieutenant.

In January 1796 Milne was appointed, at his own request, to the Pique and was stationed at Demerara for the protection of trade. The governor forwarded to him on 16 July a memorial from the resident merchants saying that the admiral had promised them a convoy to St Kitts by 15 July; that, if their ships waited longer, they would miss the convoy to England; and that if they sailed without convoy they would forfeit their insurance. Milne consented to take them to St Kitts. As he arrived there too late for the convoy to England, on the further representation of the masters of the vessels he took charge of them for the voyage home, and anchored at Spithead on 10 October. On the 11th he wrote to the Admiralty explaining his reasons and enclosing copies of the correspondence with the governor and merchants of Demerara. His conduct, under the exceptional circumstances, was approved, and the Pique was attached to the Channel Fleet. She was thus involved in the mutinies at Spithead in 1797, and when these were suppressed was actively employed on the coast of France. On 29 June 1798, in company with the frigates Jason and Mermaid she fell in, near the Penmarks, on the south coast of Brittany, with the French frigate Seine (40 guns) and brought her to action, suffering severely before the Jason could come up. The three all went aground, and after an obstinate fight the Seine surrendered as the Mermaid also drew near. The Jason and Seine were afterwards floated off, but the Pique, being bilged, was abandoned and burnt. Milne, with her other officers and men, brought the Seine to England, and on her being bought into the British navy was appointed to command her.

In October 1799 Milne went on the west coast of Africa, whence, some months later, he convoyed the trade to the West Indies. In August 1800 he was cruising in the Mona passage, and on the morning of the 20th sighted the French frigate Vengeance, the same size and strength as the Seine. The Vengeance endeavoured

Date of Manufacture

Artware Fineart has dated this 19th Century Portrait Drawing to the 1800s.

Reference Numbers
Sellingantiques Ref
SA398309
Dealers Internal Ref
3860
Artware Fineart
Sellingantiques verified Since Sep 2008
Dealer Profile

You can view the stock and full dealer information on the Artware Fineart Profile Page

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A 19th-century pencil and watercolour portrait sketch on beige paper depicting an elderly gentleman in a naval uniform with military decorations.
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Archive I A 19th-century pencil and watercolour portrait sketch on beige paper depicting an elderly gentleman in a naval uniform with military decorations.

Sir William Charles Ross, 1794 - 1860 Portrait of Admiral Sir David Milne Gcb 1763 – 1845

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51 Surrey Row
London
SE1 0BZ
United Kingdom
Verified Since Sep 2008
Items For Sale 243
Items Sold 223
Artware Fineart
Verified Since Sep 2008
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Location: 18 La Gare , 51 Surrey Row , London , SE1 0BZ , United Kingdom
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A 19th-century pencil and watercolour portrait sketch on beige paper depicting an elderly gentleman in a naval uniform with military decorations.
Sir William Charles Ross, 1794 - 1860 Portrait of Admiral Sir David Milne GCB 1763 – 1845
Ref: SA398309
A 19th-century pencil and watercolour portrait sketch on beige paper depicting an elderly gentleman in a naval uniform with military decorations.
Archival Detail
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Antiques are the ultimate green purchase. By choosing historical pieces over newly manufactured goods, you completely eliminate the carbon footprint of modern mass production while preserving exceptional, timeless craftsmanship.

Portrait drawings from this period often combine graphite pencil with light watercolour washes or chalk highlights on tinted paper, capturing realistic facial detail and official regalia prior to widespread photography.

Artists typically used heavy rag paper, graphite pencils, chalk, and natural pigment watercolour washes to build soft tones and precise lines.

Authentic pieces display natural age toning, foxing, or light creasing on historical rag paper, along with refined hand-drawn line work and period draughtsmanship rather than mechanical print dot patterns.

These historical works add depth to gallery walls when framed in classic wood or gilded frames, working effectively in studies, hallways, or above sideboards.

Keep paper artwork away from direct sunlight and high humidity, using UV-filtering glass and acid-free mounting materials to prevent fading and discoloration.
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