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The Restoration of Hms Victory Robert Borlase Smart (1881-1947) Etching
Sold by William Morris Antiques
sold SA1177781
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William Morris Antiques

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    Jess william morris established himself in the antiques business in 1999 after being awarded an rics accredited fine art valuation degree
Id #SA1177781
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The Restoration of Hms Victory Robert Borlase Smart (1881-1947) Etching

1900 - 1920
Sold 5 February 2026 · William Morris Antiques
This “Restoration of Hms Victory Robert Borlase Smart (1881-1947) Etching” found a buyer.

It was listed by William Morris Antiques. Sold pieces stay on Sellingantiques as a record of what has passed through, and the next one is rarely far away.

Description

Robert Borlase SMART (1881-1947)

HMS Victory under Restoration, Portsmouth Docks.

Limited edition etching.

Known for serving as Vice-Admiral Lord Nelson’s flagship during the Battle of Trafalgar, this extraordinary vessel isnow a naval museum in the Historic Naval dockyard

The restoration of HMS victory began in portsmouth in 1922 and was completed in 1927. it is believed the Artist Borlase Smart visited the restoration during this period.

Borlase Smart studied at Plymouth Art College between 1897 and 1900,[2] and obtained, after a further year's study, a first class honours certificate in teaching from the Royal College of Art in 1901.

Smart worked as an art editor and critic at the Western Morning News which, while he was there, became the Illustrated Western Weekly News, from 1901 to 1913.[2] During this time he continued to paint.

In 1912 his painting ‘Moonlight on the Cornish Riviera’[4] made it through the selection process and was hung in the Royal Academy Summer Show. Following this recognition of his abilities he decided to become a professional artist and he gave up his post as a journalist and moved to St Ives, Cornwall in 1913 to study seascape painting. He became a student at the School of Painting which had been established by Julius Olsson in 1895.

During the First World War he served with the Artists Rifles, the Machine Gun Corps, the London Regiment and the Queen’s Regiment. During the conflict he made charcoal and wash drawings which illustrated the conditions that the soldiers endured at the front and the destruction of towns and villages on the Somme, at Arras and at Ypres. These drawings were exhibited at the Fine Art Society in London in 1917, The Harris Galleries in Plymouth and Lanham’s Gallery in St Ives in 1919. In 1916 he met and established a lifelong friendship with Leonard Fuller while they were producing illustrations of the Lewis gun.[5]

In 1919, Smart, now married, moved to St Ives to occupy the Ocean Wave Studio. With an abundance of energy and enthusiasm, Smart began, in the three decades that followed, to gain a reputation as a fine painter and an organiser and promoter of the St Ives artistic community.[1]

He was considered a man of vision and highly regarded within the West Cornwall art community as someone with a readiness to accept and encourage emerging talent.[1]

He exhibited at the first exhibition of the Society of Graphic Art in London in 1921.[6]

Print-Multiple

Etching

Physical Dimensions
Height
58cm (22.83")
Width
70cm (27.56")
Depth
3cm (1.18")
Declaration

William Morris Antiques has dated this Robert Borlase Smart Etching to the 1920s.

Reference Numbers
Sellingantiques Reference
SA1177781
Description
Robert Borlase SMART (1881-1947)

HMS Victory under Restoration, Portsmouth Docks.

Limited edition etching.

“
Known for serving as Vice-Admiral Lord Nelson’s flagship during the Battle of Trafalgar, this extraordinary vessel isnow a naval museum in the Historic Naval dockyard.
William Morris Antiques
fig 1. A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging.
fig 1. The Restoration of Hms Victory Robert Borlase Smart (1881-1947) Etching

The restoration of HMS victory began in portsmouth in 1922 and was completed in 1927. it is believed the Artist Borlase Smart visited the restoration during this period.

Borlase Smart studied at Plymouth Art College between 1897 and 1900,[2] and obtained, after a further year's study, a first class honours certificate in teaching from the Royal College of Art in 1901.

fig 2. A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging.
fig 2. The Restoration of Hms Victory Robert Borlase Smart (1881-1947) Etching

Smart worked as an art editor and critic at the Western Morning News which, while he was there, became the Illustrated Western Weekly News, from 1901 to 1913.[2] During this time he continued to paint.

fig 3. A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging.
fig 3. The Restoration of Hms Victory Robert Borlase Smart (1881-1947) Etching

In 1912 his painting ‘Moonlight on the Cornish Riviera’[4] made it through the selection process and was hung in the Royal Academy Summer Show. Following this recognition of his abilities he decided to become a professional artist and he gave up his post as a journalist and moved to St Ives, Cornwall in 1913 to study seascape painting. He became a student at the School of Painting which had been established by Julius Olsson in 1895.

fig 4. A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging.
fig 4. The Restoration of Hms Victory Robert Borlase Smart (1881-1947) Etching

During the First World War he served with the Artists Rifles, the Machine Gun Corps, the London Regiment and the Queen’s Regiment. During the conflict he made charcoal and wash drawings which illustrated the conditions that the soldiers endured at the front and the destruction of towns and villages on the Somme, at Arras and at Ypres. These drawings were exhibited at the Fine Art Society in London in 1917, The Harris Galleries in Plymouth and Lanham’s Gallery in St Ives in 1919. In 1916 he met and established a lifelong friendship with Leonard Fuller while they were producing illustrations of the Lewis gun.[5]

fig 5. A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging.
fig 5. The Restoration of Hms Victory Robert Borlase Smart (1881-1947) Etching

In 1919, Smart, now married, moved to St Ives to occupy the Ocean Wave Studio. With an abundance of energy and enthusiasm, Smart began, in the three decades that followed, to gain a reputation as a fine painter and an organiser and promoter of the St Ives artistic community.[1]

fig 6. A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging.
fig 6. The Restoration of Hms Victory Robert Borlase Smart (1881-1947) Etching

He was considered a man of vision and highly regarded within the West Cornwall art community as someone with a readiness to accept and encourage emerging talent.[1]

He exhibited at the first exhibition of the Society of Graphic Art in London in 1921.[6]

Print-Multiple

Etching

Height
58cm (22.83")
Width
70cm (27.56")
Depth
3cm (1.18")
Date of Manufacture

William Morris Antiques has dated this Robert Borlase Smart Etching to the 1920s.

Reference Numbers
Sellingantiques Ref
SA1177781
William Morris Antiques
Sellingantiques verified Since Jul 2020

Jess william morris established himself in the antiques business in 1999 after being awarded an rics accredited fine art valuation degree

Dealer Profile

You can view the stock and full dealer information on the William Morris Antiques Profile Page

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A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging. SOLD6+ MONTHS AGO
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Archive I A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging. SOLD6+ MONTHS AGO

The Restoration of Hms Victory Robert Borlase Smart (1881-1947) Etching

Archive II A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging. View II
Archive III A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging. View III
Archive IV A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging. View IV
Archive V A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging. View V
Archive VI A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging. View VI
Archive VII A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging. View VII
Enlarged Archival View
Telephone 0800 324 7028
Location
115 St Georges Road
Brighton
East Sussex
BN2 1EA
United Kingdom
Verified Since Jul 2020
Items For Sale 22
Items Sold 263
William Morris Antiques
Verified Since Jul 2020
View Dealer Info
Location: 115 St Georges Road, Brighton, East Sussex, BN2 1EA, United Kingdom
Verified
Jul 2020
For Sale
22
Sold
263
A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging.
The Restoration of HMS Victory Robert Borlase SMART (1881-1947) Etching
Ref: SA1177781
A framed black and white etching depicting the restoration of a large historical sailing ship with intricate rigging.
Detail View 1
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Archival Detail
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Written by Sellingantiques from the dealer’s photographs and listing
  • ObjectFramed Print
  • Period1900 - 1920
  • StyleBritish Maritime
  • MaterialInk, Paper, Wood, Glass
  • ColourMonochrome
  • MotifsIntricate rigging, Detailed cross-hatching, Maritime architecture, Hand-signed signature
  • SizeH 58 cm (23 in) x W 70 cm (28 in) x D 3 cm (1 in)

An etching is a intaglio printmaking process where lines are incised into a metal plate with acid, which then holds ink to be transferred onto paper under pressure.

Traditional etchings utilise copper or zinc plates, specialised printing inks, and heavyweight cotton or rag paper.

Authentic etchings typically display a distinct plate mark indentation in the paper, tactile ink raised slightly from the surface, and characteristic paper ageing appropriate to the era.

Framed works of historical art add gravitas and narrative depth when hung against neutral walls, paired with traditional task lighting or integrated into a gallery wall.

To prevent fading and degradation, antique prints should be displayed away from direct sunlight, framed using acid-free archival materials, and kept in rooms with stable humidity levels.
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