A vivid watercolor depiction of the U.S. Navy’s first bombardment of Tripoli in the summer of 1804, housed in a lovely custom frame incorporating an early molding and ornamental mat.

In the foreground the American squadron commanded by Commodore Edward Preble bombards the city. In the right foreground is the USS Constitution, broadside to the viewer; astern of it (to the viewer’s left) are the brigs Argus and Cyrus. Behind them are the smaller vessels of the squadron, including the “6 gun-boats” mentioned in the title, facing off against Tripolitan gunboats and larger vessels defending the harbor and town. The full caption reads:

“Tripoli blocaded[sic] July 21 1804 by Com. Prebles Squadron, consisting of 7 ships, 6 gun-boats. Their 1^st bombardment of the Town & Shipping August 3—then the 7. & 27—again Sept. 3. when a gun battle took place. on the 4. Capt. Sommer, Lieut. wordsworth with others, blew up a boat containing 100 barrels powder 156 shells, which set fire to the Town & destroybed many of the boats, the explosion was awful Capt S. & all were killed__Rogers__Decatur__Porter, & other hero’s with com. Preble._Peace was made & prisoners exchanged June 3. 1805_” (original spelling and punctuation retained)

The captions are different, but the watercolor is otherwise based closely on John B. Guerrazzi’s 1805 engraving, “The attack made on Tripoli on the 3d. August 1804, by the American squadron under Comodore [sic] Edward Preble”.

The watercolor is neither signed nor dated, but based on the handwriting and subject matter we believe it to date to the first quarter of the 19^th century. The naïve execution, vivid pastels, and decorative framing render this an absolutely delightful treatment of a very violent event.

Background
In the first years of the Republic, American commerce returned to the Mediterranean without the protection of the Royal Navy and collided with the “Barbary” system—North African states that licensed piracy and treated maritime security as a revenue stream, extorted by tribute or compelled by hostage-taking. The slow-burning crisis helped catalyze the construction of the U.S. Navy’s first six frigates in the 1790s, then established the young Navy as a powerful instrument of national policy: After Tripoli’s break with earlier arrangements, Jefferson chose war over ransom in 1801, and by 1803 Commodore Edward Preble was off Tripoli enforcing a grinding blockade punctuated by audacious inshore attacks, including the action of August 3, 1804 memorialized in this watercolor.

The campaign’s risks were underscored when the frigate Philadelphia ran aground and was captured in October 1803. But this turned to glory when Stephen Decatur, in February 1804, led a night boarding party into Tripoli harbor and burnt her in place rather than let her be used against the squadron.

The exploits of Preble’s squadron—particularly Decatur’s burning of the Philadelphia–were quickly framed as exemplary of American naval daring and professional competence, proof that the United States could project force across an ocean, protect commerce, and negotiate from strength. At the same time, Preble’s “boys” became a ready-made gallery of heroes for newspapers, oratory, and naval promotion. Popular imagery helped fix that interpretation in the public mind: Prints like Guerrazzi’s “Attack Made on Tripoli”—the model for this watercolor—and its companion “The Burning of the American Frigate Philadelphia” (both, ironically by an Italian and published in Livorno) simplified a complex naval campaign into immediately-recognizable scenes of naval glory. 

References
For the Guerrazi, see Edgar Newbold Smith, American Naval Broadsides, #42, plate 28 and Irving Olds, Bits and Pieces of American History, #107.

Previously in the collection of the late William Gemmill of Wiscasset, Maine. Offered in partnership with James Arsenault & Company, Arrowsic, Maine.