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See also: English marine painter, See also: born at See also: Whitby, See also: Yorkshire, was the son of a See also: seaman, and for several years he pursued his See also: father's calling
.
While at See also: sea he was in the habit of sketching the different classes of vessels
.
His master, observing this, gratified him by cancelling his indentures, and thus set him See also: free to follow his natural bent
.
See also: Chambers then apprenticed himself to an old woman who kept a painter's See also: shop in Whitby, and began by See also: house-See also: painting
.
He also took lessons of a See also: drawing-master, and found a ready sale for small and cheap pictures of See also: shipping
.
Coming afterwards to See also: London, he was employed by See also: Thomas Horner to assist in painting the
See also: great panorama of London for the Colosseum (the See also: exhibition See also: building in See also: Regent's See also: Park, demolished towards 186o), and he next became scene-painter at the See also: Pavilion theatre
.
In 1834 he was elected an associate, and in 1836 a full member, of the See also: Water-colour Society
.
His best See also: works represent See also: naval battles
.
Two of these—the " See also: Bombardment of Algiers in 1816," and the " Capture of See also: Porto See also: Bello "—are in See also: Greenwich hospital
.
Not long before his See also: death he was introduced to See also: William IV., and his professional prospects brightened; but his constitution, always frail, gave way, and he died on the 28th of
See also: October 184o
.
A See also: Life, by See also: John
See also: Watkins, was published in 1841
.
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