Marine Painting in England 1700-1900 Published by Studio Vista, London, in 1973 This was one of the first books to examine the specialist tradition of English marine painting. It traces the origins of the English school in the work of the Van de Veldes and the other Dutch artists and goes on to study the growth of seascape painting from the early days of Peter Monamy and Samuel Scott through the Romantic Movement to the Victorian period. The painting methods of the artists are compared and the use of contemporary diaries and letters provide an evocative picture of the working practices of artists ranging from Nicholas Pocock and Clarkson Stanfield to Constable and Turner. “a vivid survey of an aspect of British art that is much loved but surprisingly little written about….His book is crisp, factual and to the point, reminding us that the successful marine artist needed not only the conventional skills of the painter but a good deal of specialised knowledge too….This charming and informative book is dotted with apt quotations from Ruskin, contemporary instruction manuals, patrons and artists’s letters; biographical details are sensibly organised in the form of brief essays…..the result is a stimulating survey, firmly anchored in the study of specific artists and paintings.” Marina Vaisey in The Financial Times “This volume is a valuable addition to the literature of the subject, much of it scattered in periodicals, and a reliable work of reference, clearly written and conveniently arranged….The arrangement is roughly chronological… and each outline biography is accompanied by a just and perceptive commentary, which also proves the author to be well informed on the specialist aspects of his theme.” Ralph Edwards, in Apollo Magazine “Mr Cordingly shows in detail the various subtleties so important to the distinguishing of one master from another. He gives interesting details about his selected painters and is able to bring an art historian’s eye to those points of technique and design… that can be so easily over looked by those for whom the vessels shown are the prime concern….this is a book which deserves a very strong welcome indeed.” David Coombs in The Connoisseur. “First class reproductions in colour and black and white of one hundred and twenty paintings, coupled with a reliable bibliography, complete a volume that deserves its place in all art libraries; its sober, factual and critical notes on individual artists are invaluable in assessing their importance in a field of subject painting that has been neglected by publishers.” George Monkland in Pictures and Prints.