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Once completed, the paintings were quickly acknowledged to be among the most striking landscapes ever produced by an American artist. (One of my favorites, "Admiralty Sound, Tierra del Fuego", now at the Hermitage Museum, is reproduced here.) The drawings, powerfully evocative black and white line images, illustrate Kent’s book, Voyaging: Southward from the Strait of Magellan, an account of his travels that became a best-seller and remains a popular work with collectors today (see image, below right).One painting Kent produced while in the region, however, did not come back to New York with him. That work was not a landscape—although the Fuegian Andes do appear in the background—but instead a portrait, a portrait not of a person but of a beloved vessel, the three-masted schooner, Sara. Kent’s portrait of the Sara was
the only one of his paintings, to my knowledge, he left in Tierra del Fuego. It may well also be the only one he fully completed there. The painting was done in exchange for repairs to Kent’s own boat, the Kathleen, which almost sank his first day out from Punta Arenas.Kent’s half-baked plan when he departed New York in June 1922 was to travel to Punta Arenas and there somehow—he was not yet famous and had no money—procure a boat and sail it westward through the Strait of Magellan, around Tierra del Fuego and Cape Horn, and then back to Punta Arenas. Upon arrival he managed to get hold of a lifeboat from one of the many abandoned hulks rotting in the harbor at Punta Arenas. One of the vessels there at that time, dismasted and forgotten, was the South Street Seaport Museum’s own ship Wavertree. She had been towed to Punta Arenas in 1911 after being dismasted in a storm off Cape Horn. Alas, it was from another vessel that Kent swiped the lifeboat.
The lifeboat was quickly decked over, a keel added, mast and rigging raised and turned into a 26’ sloop he christened the Kathleen, after the wife he left behind in New York. It was a masterful conversion but done too hastily, apparently. Several hours after casting off, the boat started
taking on so much water Kent feared she would sink. Kent decided to put into Port Harris on Dawson Island, where he knew there was a sawmill and shipyard. It was quickly determined Kathleen would need extensive repairs if she was to make it to the Horn and back. Kent had no money for repairs but in exchange he offered to paint a portrait for the mill manager of the schooner Sara (see right).The Sara elicited bittersweet pride in Port Harris. She had been built there just a few years earlier, in 1919, the largest ever built in Chile at the time. She was likely
built for Sara Braun, a wealthy entrepreneur, to haul wool from her extensive sheep estancias to market (see Sara Braun’s mansion in Punta Arenas as it appears today, at left). I say “likely” because the records are scanty and my Spanish scantier still. But I am allowing myself the conjecture because the dates are right, the spelling of Sara is right, and wool figures prominently in the short life of the Sara.Just three years after her launch, Sara caught fire and sank. Her cargo? Wool. She went down without loss of life in February 1922, the same year Rockwell Kent found himself stranded in the little mill town of her birth. The emotions in Port Harris were still raw over the loss of their pride and joy so the offer, by a real artist, to preserve her memory on canvas was gladly accepted. “Dawson lived upon the memory of Sara,” wrote Kent. “And that time might never dim for them the recollection of her glory I would paint her portrait.” While the shipwrights worked on Kathleen, Kent worked on Sara. He worked from photographs and plans and from the vivid, loving recollections of the men who had built her.
While Kent was fiercely proud of the lines of his own boat, he was not terribly complementary of the Sara. In his journal he calls her “huge, clumsy, hideous” but also “tenderly loved” and “a triumph of construction.” Of course, he kept these views out of his book, perhaps in grateful respect to the many Chilenos so helpful to him throughout his trip. Instead, in the book he refers to Sara as Chile’s Great Eastern. This is still a backhanded compliment; the Great Eastern was an ugly, six-masted monster built in London in 1858 (see image, right). But, to the casual reader, Kent would appear to be comparing the vessels in their size and the accomplishement of their
construction rather than commenting on aesthetics. Being more charitable, I prefer to compare Sara not to the Great Eastern but to the Great Republic, a lovely clipper ship built in Boston in 1853 and which, like the Sara, saw her life cut short by fire. Sara lasted three years before being consumed; the Great Republic (right, below) burned the very month of her maiden voyage. She burned to the waterline in New York on December 27th, 1853 in a fire that started on land, in a bakery located on the very block in which I write these words. 
When Kent was finished with his protrait of the Sara he presented it to Senor Marcou, the manager of the mill and the man who had not only authorized the repairs to the Kathleen but befriended Kent during the weeks he was marooned on Dawson Island. Marcou was so taken by the painting he decided to hang it in his bedroom where he could admire it every day. Word of the painting had spread far on the island and Marcou believed his heavily-armed bedroom was the safest place for it. So fierce was his pride in possessing the painting he asked Kent to write a letter attesting the work had been given to Marcou himself and no one else, not the company, not the board of directors, not the designers of the vessel.
Imagine my astonishment, then, to find the painting, eighty six years later, not on Dawson Island or in a museum in Punta Arenas or Valparaiso but in a gallery in New York City. I immediately made an appointment to view the painting, now called "The Sara at Dawson Island" (see image, below). It was much larger than I was expecting and in-person you can properly take in the detail. This was no gauzy, impressionistic canvas. It was meant to be a portrait in the most complete sense of the word, a portrait destined for a lover with every detail of the beloved captured and preserved. And Kent delivers that detail. “…I began upon such an elaboration of details as only the…all-cherishing memories of the ship’s creators could have suggested…” In the painting you can see every line, every block, every reefing nettle. I can imagine Senior Marcou looking lovingly at his Sara each night before bed. Kent doesn’t say if Marcou was married, but if so, I can imagine his wife’s jealousy.
Kent describes his painting thus, “Upon a dark green sea, against a background of the gleaming snow peaks of Dawson and a thunder dark sky, I put her, sailing, all sails set, before the wind; and in the foreground, heedless of anachronism, appeared the little Kathleen.” Yes, in a final bit of conceit, Kent—betraying his habit of self-promotion—inserts himself into the painting, at the helm of the Kathleen, a tiny Stars and Stripes flying in friendly salute to the pride of Chile’s merchant fleet.
How did this painting, born in the furthest southern reaches of the hemisphere, make its way from under lock and key in Senior Marcou’s bedroom to a sleek Fifth Avenue gallery? The records are unclear. The current owner of the work, D. Wigmore Gallery has no record of its provenance and Christie’s, which sold the work in 1997, could not disclose how, or even when the work made its way to the United States.
Marcou was just 35 when Kent met him so any children he might have had may yet be alive today living out their remaining years in or around Punta Arenas. Certainly any grandchildren might be alive. Kent’s diaries and letters make no mention of any future contact with Marcou. Although he liked and admired the man, there was apparently no correspondence between them. This is particularly surprising because Kent kept in touch with others he met there and, without Marcou’s generosity, Kent’s travels in Tierra del Fuego would have ended almost before they began, and the art he produced there and the book that propelled his fame would never have seen the light of day.
So, what happened? Was the work stolen, as Senior Marcou had feared? Did he give it to one of his heirs who then cashed in on Kent’s fame? Or did some enterprising collector, reading about the painting in Kent’s book go to Tierra del Fuego to seek out Marcou and make him an offer? By the 1930s, Rockwell Kent was arguably America’s most famous artist. The hard dollars a collector would have offered could have gone a long way to making Marcou's life significantly more comfortable. But the mystery remains. Just how did this painting make its way those 9,000 miles from Tierra del Fuego to the island of Manhattan?
I intend to keep searching but, for now, I’ve reached a dead end. All I can do is admire the picture I have of the Sara and hope to learn more once I get to Punta Arenas and Dawson Island. [To be continued.]
