The 40 metre aging sailing yacht, “The Flying Dutchman,” is one of a number of huge yachts chartered solely for the Olympics by Dutch businessman, Xander Tiedemann, who as well as his charter arrangement is also staging live concerts, a large-screen television and removable hot tubs on the wharf near to the ships.
The Flying Dutchman is not alone in the Thames’ tea coloured waters as twenty tall ships and the more modern super-yachts, with million dollar price tags, have moored alongside the river Thames in London to act as floating hotels for the Olympic Games. Apart from the June boat extravaganza for the queen’s Diamond Jubilee, London has never viewed so much high value floating capital, commentators have said.
The Flying Dutchman
Tim Thomas, editor of Boat International, a yachting magazine covering luxury yachts which, has its base in London said that sometimes boats come up the river, but it’s not a common sight to see any super-yachts.
Most of these super-yachts cruise the Mediterranean, particularly the waters between St. Tropez and Monaco. Dismal, rain sodden London, which is situated far inland from any coast does not feature in cruising itineraries. However, the Olympic summer has meant that super-yachts are queuing up for prime London waterfront space.
The largest of the ships named “Octopus” ranks as the tenth biggest yacht globally, a giant so enormous it shadows a local apartment block. The 130m “Octopus” houses a garage, a helipad and enough storage area for a mini-sub.
Additionally, “Ilona”, which is moored up to Wood Wharf, owns a swimming pool as well as a helipad, and “Seanna” has its own movie hall, gym and spa.
There are at least six giant yachts moored in an area that was only six months a building site and there is no need for the guests to use the grubby, congested underground rail system to get into Central London as there are a team of speed boats at hand to do that job.
The owners of these shows of conspicuous wealth do not freely advertise their presence or announce who they are. It appears that discretion is the order of the day for most. However, the “Dannebrog” is definitely not discreet. Gilded and carved crowns decorate her stem and stern, and positioned at the base of the gang plank is a sailor in a traditional white and blue sailor’s outfit who is standing on guard. The yacht was constructed in 1931 and has 57 crew and it is owned by the Danish royal family.
Usually, the “Dannebrog” spends long summer days sailing along the Danish coast, but this August the Queen and Prince are holidaying on the Thames watching the Olympic Games. No one knows if any of the other yachts have their owners on board, as many of them charter their yachts outs for tax purposes, but often for cash at around $125,000 a week.
London is still a city with its quota of the world’s rich and famous and local residents are quite used to seeing displays of lavish consumption, but super-yachts they are not certainly accustomed to and they have not been a feature of any recent Olympic Games draw card. Britons and thousands of overseas visitors appear to be looking in awe at these glistening, floating pillars of wealth.
Joseph Mallord William Turner (Covent Garden, London, 23 April 1775 – Chelsea, London, December 19, 1851), was an English painter specialized in landscapes. He was considered a controversial figure in his time, but today he is seen as the artist who elevated the art of landscapes to the category of historic paint. Although renowned for his oil paintings, Turner is also known as one of the great masters of British watercolor landscape painting. He is commonly regarded as “the painter of light” and his work is considered a romantic preface to impresionism.
His father, William Turner, was a wig maker who later became a barber. His mother, Mary Marshall, a housewife, was gradually losing his mental stability when she was young, perhaps because of the death of Turner’s younger sister in 1786. She died in 1804. This was the possible cause that led to the young Turner being sent to Brentford, a small town west of London near the River Thames, with his maternal uncle in in 1785. There Turner first showed his interest in painting. A year later he went to school in Margate, Kent, east of London in the Thames Estuary area. By then Turner had done several works that were displayed at his father’s trade exhibitor.
The “Fighting Temeraire” Tugged to He…
Turner entered the Royal Academy of Art when he was just 14. He was accepted at 15, because, unlike his contemporaries, he was interested in being part of it. At first, he showed a keen interest in architecture, but his painting activity was stimulated by the architect Thomas Hardwick (junior). Sir Joshua Reynolds, president of the Royal Academy at that time, admitted Turner definitely committing him to the world of art. In 1790, after only one year of study, one of his watercolors was accepted for the Summer Exhibition of the Royal Academy of that year. His first oil painting, Fishermen at Sea, was exhibited in 1796. For the rest of his life, he would regularly exhibit paintings at the Academy.
Detail of Sailing Ship from The Slave…
Joseph Mallord William Turner
In his youth he learned the watercolor techniques together with painter Thomas Girtin, who colored plates to illustrated several travel books.
He is commonly known as the painter of light, renowned not only for his oils and watercolors but also because he is considered one of the founders of English watercolor landscape painting.
One of his most famous works is “The reckless towed to dry dock”, painted in 1839, is deposited at the National Gallery in London.
Turner traveled around Europe, starting his journey in France and Switzerland in 1802, studying at the Louvre in Paris, that same year. He also visited Venice. During a visit to Lyme Regis in Dorset, England, he painted a storm scene, now in the Museum of Cincinnati, Ohio.
Lifeboat and Manby Apparatus Going of…
As he grew older, Turner became more eccentric. He had few friends except his father, who lived with him thirty years, eventually assisting him in his studio. His father died in 1829, which produced a deep impression, which led into depression.
He died at his home in Cheyne Walk, Chelsea, London, on December 19, 1851. At his request he was buried in the cathedral of S. Paul, where he lies next to Sir Joshua Reynolds. His last exhibition at the Royal Academy was in 1850.
Willem van de Velde the Younger (Leiden, December 18, 1633 – London, April 6, 1707) was a Dutch sea painter.
Son of Willem van de Velde the Elder, also a painter of seascapes, he learned from his father and later from Simon de Vlieger, a famous artist of the time. In 1673, the year he moved to England, he had already gained fame in his native country.
In London, King Charles II hired him to paint drawings and sketches of sea battles for a salary of 100 pounds a year. Part of his job was to color drawings by Willem the Elder, also hired in court. He is also commissioned by the Duke of York, later crowned as James II, and by several members of the nobility.
Dutch Shipping Offshore in a Rising Gale
Willem Van De, The Younger Velde
The most beautiful paintings of van de Velde are views out to sea from the Netherlands, showing Dutch ships. His best paintings are delicate, inspired, detailed and very accurate in describing the ships and their components. Many figures are introduced with great eloquence, and the artist successfully represents the sea, either calm or stormy.
Many of his works are now in museums around the world.
The City of Adelaide is not the city of that name but the oldest known clipper ship still in existence in the world. It is actually 5 years older than the Cutty Sark.
In its heyday, it transported emigrants seeking riches overseas, from the northern reaches of Scotland to the southernmost continent of Australia. It has been estimated that one quarter of a million of Australia’s ancestors sailed as passengers on the City of Adelaide.
After many years rotting at a Scottish boatyard and 150 years since she was built, her fate has finally been decided. Now, she is being prepared for her final voyage back to Australia. The intention is to fully restore her and she will then become the focal point of maritime history in the Port of Adelaide. The total cost of the project will exceed ten million pounds.
Wind and Sun
She is certainly in no condition to sail to Australia so a massive cradle is being constructed in Irvine. The clipper was launched in 1864 in Sunderland. It sailed 10,000-mile voyages between the two countries for nearly 25 years, but her sailing days have long gone as her last ocean voyage was in 1893.
At one point, the 53-metre ship was bought by Southampton council after a cholera outbreak and was used as an isolation hospital for infectious victims.
Later, in 1924, it was turned into a training ship at Irvine in Scotland, and a name change to HMS Carrick followed, however, unfortunately, in 1991, it sank in Glasgow and remained in Davy Jones’ Locker until it was salvaged by the Scottish Maritime Museum.
There has been much debate over its fate with some wanting it to return to Sunderland to its birthplace but in the end, the owners decided, after much soul searching, that interested parties in Adelaide would be the new owners and restorers. The view being that in earlier days there was a strong association between South Australia and this link will prevail and be reinforced once the City of Adelaide has been restored and put on show.
The City of Adelaide is certainly no lightweight as metalworking engineers in Australia have now built a unique cradle designed to carry 100 tonnes and with a cost of almost three quarters of a million pounds.
The hope is that the aging clipper will not crumble when it is slid into the cradle but the cradle is going to be thoroughly checked by Lloyds of London inspectors before the ordeal of fitting the City of Adelaide into it. Interestingly, twenty different locations in Australia were used to construct the cradle so bringing it altogether in Irvine will most certainly be a test of cooperation. The designers all from Australia will be overseeing the whole project.
The final date of the whole procedure has not been finalised yet as there are still some final checks to be made along with the necessity for the right tide.