Throughout history artists have flocked to the sea for inspiration. The beauties and dangers of life near the water have been well documented by painters and poets. But what is it about water that captures our interest so consistently? Explore this exhibition to find out more about humanity’s complicated relationship with water, as a provider or playmate, muse or murderer.


All the artwork in this exhibition is from Salford Museum & Art Gallery’s collections, and can be viewed on Art UK.

38 artworks
  • Making for Dover

    Making for Dover
    Edwin Hayes (1819–1904)
    Oil on canvas
    H 44 x W 82 cm
    Salford Museum & Art Gallery
    Making for Dover
    Image credit: Salford Museum & Art Gallery

  • Work

    All living things need water to survive. Like animals gathering around a watering hole in a nature documentary, early civilizations would have been built near water, allowing them to drink easily. Quickly hunters learned to fish, getting food as well as drink from the water. Cave paintings show that fishing was common as early as 40,000 years ago!
    The water provides work for millions of people every year, catching fish or transporting cargo. Before the invention of trains or planes, boats were the fastest method of transportation, and the invention of steam engines during the Industrial Revolution (1760-1840) allowed boats to travel further and faster than ever before.


  • Loading Aeroplane Parts for Overseas

    Bernard Hailstone was a British artist who became an Official War Artist in 1941. He worked as part of the Ministry of Transport during World War 2. During the war, bad weather conditions over the Atlantic sea made it too dangerous for aircrafts to be flown between North America and Britain, so planes would be taken apart and shipped across the sea in crates.

    Loading Aeroplane Parts for Overseas
    Bernard Hailstone (1910–1987)
    Oil on canvas
    H 61 x W 74 cm
    Salford Museum & Art Gallery
    Loading Aeroplane Parts for Overseas
    © the artist's estate. Image credit: Salford Museum & Art Gallery

  • Harbour, Seahouses
    Argent Brierley (1893–1960)
    Oil on canvas
    H 41 x W 52 cm
    Salford Museum & Art Gallery
    Harbour, Seahouses
    © the copyright holder. Image credit: Salford Museum & Art Gallery

  • Unloading Cement, Lyme

    Unloading Cement, Lyme 1932
    Richard Ernst Eurich (1903–1992)
    Oil on canvas
    H 58.5 x W 86.5 cm
    Salford Museum & Art Gallery
    Unloading Cement, Lyme
    © the artist's estate / Bridgeman Images. Image credit: Salford Museum & Art Gallery

  • Carting Sand

    Carting Sand
    James William Booth (1867–1953)
    Oil on canvas
    H 35.5 x W 46 cm
    Salford Museum & Art Gallery
    Carting Sand
    Image credit: Salford Museum & Art Gallery

  • Canal Scene
    Edward William Finley (1907–1979)
    Oil on canvas
    H 66 x W 40.5 cm
    Salford Museum & Art Gallery
    Canal Scene
    © the artist's estate. Image credit: Salford Museum & Art Gallery

  • Barton Bridge before the Construction of the Ship Canal

    Barton Bridge before the Construction of the Ship Canal 1890
    J. Bollans
    Oil on canvas
    H 20 x W 30 cm
    Salford Museum & Art Gallery
    Barton Bridge before the Construction of the Ship Canal
    Image credit: Salford Museum & Art Gallery

  • The Return of the Lance Fishers, Heligoland

    John Thomas Hamilton Macallum is a Scottish artist, known for his depictions of the sea and the lives of fishermen. In this painting, a group of Lance Fishers have returned home after a long day of catching fish. They are greeted in the shallow water by men pushing a cart, ready to carry their haul back to shore.

    The Return of the Lance Fishers, Heligoland
    John Thomas Hamilton Macallum (1841–1896)
    Oil on canvas
    H 86.5 x W 168 cm
    Salford Museum & Art Gallery
    The Return of the Lance Fishers, Heligoland
    Image credit: Salford Museum & Art Gallery

  • Danger

    Life onboard ships could be very dangerous, and sailors on long journeys were at constant risk of being shipwrecked. Huge storms at sea could turn boats upside down, cause them to crash, or set them on fire, claiming hundreds of lives in seconds.
    Artists feared and respected the water, and the Romantic Sublime was a genre that depicted the frightening greatness of nature. Artists depicted vast seascapes and overwhelming storms, representing nature as something both awe inspiring and awful, exploring the danger of humanity’s desire to be at sea.


  • Ship on Fire off the North Foreland

    Fire was one of the greatest dangers to wooden ships which were often laden with highly combustible cargoes. The ship portrayed here has been devastated by fire and is a total loss. The crew has abandoned ship, making the perilous journey to shore in small lifeboats. Some unlucky crew members cling to the wreckage, awaiting rescue.

    Ship on Fire off the North Foreland
    Alfred Montague (1832–1883)
    Oil on canvas
    H 150 x W 212 cm
    Salford Museum & Art Gallery
    Ship on Fire off the North Foreland
    Image credit: Salford Museum & Art Gallery

  • A Rough Day at St Ives, Cornwall

    A Rough Day at St Ives, Cornwall 1883
    Frithjof Smith-Hald (1846–1903)
    Oil on canvas
    H 115.5 x W 203 cm
    Salford Museum & Art Gallery
    A Rough Day at St Ives, Cornwall
    Image credit: Salford Museum & Art Gallery

  • Vesuvius

    Vesuvius 1906
    unknown artist
    Oil on paper
    H 40 x W 60 cm
    Salford Museum & Art Gallery
    Vesuvius
    Image credit: Salford Museum & Art Gallery

  • Torrent Scene in Norway

    Torrent Scene in Norway 1870
    Anders Hansson Kallenberg (1834–1902)
    Oil on canvas
    H 98 x W 131.5 cm
    Salford Museum & Art Gallery
    Torrent Scene in Norway
    Image credit: Salford Museum & Art Gallery

  • Death of Nelson

    Death of Nelson after 1805
    Samuel Drummond (1765–1844) (after)
    Oil on canvas
    H 70 x W 89 cm
    Salford Museum & Art Gallery
    Death of Nelson
    Image credit: Salford Museum & Art Gallery

  • Shipwrecked

    Shipwrecked 19th C
    unknown artist
    Oil on canvas
    H 36.5 x W 61 cm
    Salford Museum & Art Gallery
    Shipwrecked
    Image credit: Salford Museum & Art Gallery

  • A Volunteer for the Lifeboat

    By the middle of the nineteenth century a lifeboat service was introduced to the Cornish coast. Like today, they were manned by volunteers. In this painting, a ship in distress lies close to the shore but in stormy seas. A young man has stepped forward to volunteer. Lives may be saved but many lifeboat men died in such dangerous rescues. The young man’s mother pleads with him not to go, scared for his life.

    A Volunteer for the Lifeboat
    Maria Dorothea Robinson (1850–1920)
    Oil on canvas
    H 115 x W 160 cm
    Salford Museum & Art Gallery
    A Volunteer for the Lifeboat
    Image credit: Salford Museum & Art Gallery

  • Life

    Everyday life takes place near water, in the form of rivers, lakes, seas, and oceans. Water is so important to human lives that it is used as symbolism in poems and paintings all across the world, representing love, life, and death.
    People rely on the water for both work and play. Water sports have been used for recreation throughout human history. Swimming and rowing were both sports in the first Olympic Games in Athens, 1896.


  • The Bathers

    In the 17th and 18th centuries, beaches became popular holiday destinations. Visits to the seaside were medically prescribed by doctors to expose patients to the fresh sea air, giving their lungs a break from the smog and dirt of their busy cities. People still flock to the beach during the summer holidays to play in the sand and splash in the sea. In this painting, a group of ladies pull off their stockings and sunhats, preparing to run into the cool ocean on a hot summer’s day.

    The Bathers
    Ronald Allan (1900–1966)
    Oil on canvas
    H 32 x W 34 cm
    Salford Museum & Art Gallery
    The Bathers
    © the copyright holder. Image credit: Salford Museum & Art Gallery

  • Boys Fishing

    Boys Fishing 19th C
    unknown artist
    Oil on wood
    H 50 x W 41.5 cm
    Salford Museum & Art Gallery
    Boys Fishing
    Image credit: Salford Museum & Art Gallery

  • Eton Boys

    Eton Boys 1932
    W. Urach
    Oil on cardboard
    H 29 x W 35.5 cm
    Salford Museum & Art Gallery
    Eton Boys
    © the copyright holder. Image credit: Salford Museum & Art Gallery

  • Harbour

    Harbour 1963
    Colin Trevor Johnson (1942–2017)
    Oil on board
    H 56 x W 74 cm
    Salford Museum & Art Gallery
    Harbour
    © the artist's estate. Image credit: Salford Museum & Art Gallery

  • The Pier

    The Pier 1956
    Derek Wilkinson (1929–2001)
    Oil on canvas
    H 68 x W 90 cm
    Salford Museum & Art Gallery
    The Pier
    © the copyright holder. Image credit: Salford Museum & Art Gallery

  • Nelson (1758–1805), and Lady Hamilton (1765–1815)

    Nelson (1758–1805), and Lady Hamilton (1765–1815)
    Herbert Gustave Schmalz (1856–1935)
    Oil on canvas
    H 96 x W 81 cm
    Salford Museum & Art Gallery
    Nelson (1758–1805), and Lady Hamilton (1765–1815)
    Image credit: Salford Museum & Art Gallery

  • Two Bridges

    Two Bridges
    Clarence Willie Northing (1895–1973)
    Oil on canvas
    H 49.5 x W 59.5 cm
    Salford Museum & Art Gallery
    Two Bridges
    © the artist's estate. Image credit: Salford Museum & Art Gallery

  • Still Waters Run Deep

    This scene of gentle lovers in a peaceful landscape is set in Albury Park, Surrey, the seat of the Duke of Northumberland. It is a companion to the painting 'He Never Came', which is in a private collection. The title could refer to the pond or to human nature, where a calm exterior can conceal a greater depth of emotion.

    Still Waters Run Deep 1877
    Edward Henry Fahey (1844–1907)
    Oil on canvas
    H 119.5 x W 164 cm
    Salford Museum & Art Gallery
    Still Waters Run Deep
    Image credit: Salford Museum & Art Gallery

  • Beauty

    For a long time, landscape painting was considered a lower artform in Western cultures, requiring less skill than portrait or history painting. Landscape art gained popularity as a way to appreciate nature during the Romantic era (c1798-1837), partially as a response to the Industrial Revolution and the lack of green spaces in big cities.
    Beauty is subjective and many people disagree about what can be considered beautiful in life and in art. Depictions of water, both resting and wild, were considered beautiful by Romantic artists because of the strong emotional response they elicited. Do we still find paintings of water beautiful today?


  • Cows Drinking

    In this painting a farmer sits by a river and watches his cows drink. During the Industrial Revolution, it became popular to portray life in the countryside as something idyllic. People in the dirty, industrial cities, longed for life in the beautiful countryside. In reality, the work of farmers and poor people in rural areas was very difficult, dangerous, and messy, not at all how it seems in historical paintings.

    Cows Drinking 1887
    Charles Collins II (1851–1921)
    Oil on canvas
    H 30.5 x W 46 cm
    Salford Museum & Art Gallery
    Cows Drinking
    Image credit: Salford Museum & Art Gallery

  • Waterfall

    Waterfall
    John Taylor (1735–1806)
    Oil on canvas
    H 33 x W 25.5 cm
    Salford Museum & Art Gallery
    Waterfall
    Image credit: Salford Museum & Art Gallery

  • Stags Crossing a River

    Stags Crossing a River 1912
    F. R. Simpson (active c.1910–1918)
    Oil on canvas
    H 51 x W 65 cm
    Salford Museum & Art Gallery
    Stags Crossing a River
    © the copyright holder. Image credit: Salford Museum & Art Gallery

  • Wild Wales

    Wild Wales 1872
    Benjamin Williams Leader (1831–1923)
    Oil on canvas
    H 150 x W 181 cm
    Salford Museum & Art Gallery
    Wild Wales
    Image credit: Salford Museum & Art Gallery

  • Cattle Fording the River Brathay

    Cattle Fording the River Brathay
    Sidney Richard Percy (1821–1886)
    Oil on canvas
    H 120 x W 180 cm
    Salford Museum & Art Gallery
    Cattle Fording the River Brathay
    Image credit: Salford Museum & Art Gallery

  • Seascape

    Seascape 1907
    William Worthington Jolley (1848–1915)
    Oil on board
    H 19 x W 34 cm
    Salford Museum & Art Gallery
    Seascape
    Image credit: Salford Museum & Art Gallery

  • Waterfall

    Smith was a British artist, known for his landscape paintings. In this painting, a man sits on a rock, looking out across a river towards a waterfall. Smith captures the awe-inspiring scale of nature in this painting, portraying humanity as something insignificant in the face of the great waterfall and towering cliffsides.

    Waterfall 1890
    James Burrell Smith (1822–1897)
    Oil on canvas
    H 61 x W 91 cm
    Salford Museum & Art Gallery
    Waterfall
    Image credit: Salford Museum & Art Gallery

  • Local

    Salford Museum and Art Gallery is located in Greater Manchester which, despite being landlocked, is home to many beautiful, watery scenes because the rivers Mersey, Irwell, and Tame run through it. These rivers allowed Manchester’s large cotton and textile trade to be traded on a global scale, using boats to transport its goods far and wide. Manchester’s Bridgewater canal, built in 1761, is considered the first major canal in England!
    Before photography was invented, paintings were used to document the world. Historical paintings of Salford and Greater Manchester can show us how our local area has changed over time. Look at these paintings showing scenes from Greater Manchester, do you think they look the same today?


  • The Queen on Board 'The Enchantress' at Trafford Wharf Ship Canal, Machester

    On the 21st of May 1894, Queen Victoria opened the Manchester Ship Canal. The canal was made to create jobs for the local people, allowing them to buy and sell goods across a longer distance. This painting depicts the crowds gathered to watch the opening ceremony. People stand in the stands and cheer as the Queen’s boat sails by.

    The Queen on Board 'The Enchantress' at Trafford Wharf Ship Canal, Manchester 1894
    Albert Dunington (1860–1941)
    Oil on board
    H 33.5 x W 49.5 cm
    Salford Museum & Art Gallery
    The Queen on Board 'The Enchantress' at Trafford Wharf Ship Canal, Manchester
    Image credit: Salford Museum & Art Gallery

  • Scene on the Irwell, Salford

    Scene on the Irwell, Salford 1856
    Day Jackson (active 1856)
    Oil on canvas
    H 84 x W 135 cm
    Salford Museum & Art Gallery
    Scene on the Irwell, Salford
    Image credit: Salford Museum & Art Gallery

  • Old Salford Bridge

    Old Salford Bridge
    James Parry (1795–1877)
    Oil on canvas
    H 46 x W 56 cm
    Salford Museum & Art Gallery
    Old Salford Bridge
    Image credit: Salford Museum & Art Gallery

  • Victoria Bridge, Salford

    Victoria Bridge, Salford
    James Parry (1795–1877)
    Oil on canvas
    H 46 x W 56 cm
    Salford Museum & Art Gallery
    Victoria Bridge, Salford
    Image credit: Salford Museum & Art Gallery

  • Ordsall Hall, Salford

    Ordsall Hall, Salford
    John Ralston (1789–1833)
    Oil on panel
    H 37 x W 53 cm
    Salford Museum & Art Gallery
    Ordsall Hall, Salford
    Image credit: Salford Museum & Art Gallery

  • Barton Aqueduct and Lock on River Irwell

    Barton Aqueduct and Lock on River Irwell 1892
    Charles Barlow (active 1890–1898)
    Oil on board
    H 51 x W 76 cm
    Salford Museum & Art Gallery
    Barton Aqueduct and Lock on River Irwell
    Image credit: Salford Museum & Art Gallery

  • Bridge over River Irwell

    Bridge over River Irwell
    unknown artist
    Oil on wood panel
    H 17 x W 25.5 cm
    Salford Museum & Art Gallery
    Bridge over River Irwell
    Image credit: Salford Museum & Art Gallery

  • Lark Hill, Salford

    Salford Museum and Art Gallery’s building was originally a mansion house called Lark Hill Place, built in the 18th or 19th century by a man named James Ackers. This painting shows Lark Hill Place as it was before it became a museum. Does it look familiar to you?

    Lark Hill, Salford 1825
    Thomas Pawson (active 1812–1825)
    Oil on canvas
    H 59 x W 81 cm
    Salford Museum & Art Gallery
    Lark Hill, Salford
    Image credit: Salford Museum & Art Gallery