Art
and his sketch books contain precise observations of sailors, privateers and merchantmen. His son Frédéric, (1805-1870), six years younger
than Antoine, fi ls, and more talented, was a child prodigy. Enticed, at the age of 20, to study with Carle Vernet and his son, Horace, in their Parisian atelier, Frédéric moved subsequently to Le Havre about 1835, where his studious, refreshing portraits were to infl uence contemporary British, Dutch, German, Flemish and Scandinavian painters. François Geoffroi Roux, perhaps the greatest of all the family, was acclaimed on both sides of the Atlantic. His highly detailed, profi led portraits of merchantmen, often with the ports of Marseilles (with Fort St. Jean prominent) or of Toulon, fi zz with refreshing colour, speed of execution and movement. His pictures remain
highly collectable to this day. The Roux family of watercolourists attracted numerous forgers and followers, such as the French Honoré Pellegrin, and Montardier and Pierre-Julien Gilbert (the two latter being much infl uenced by the Le Havre style of Frédéric Roux). Elsewhere the Spaniard Pineda, the German Peter Holm and Lorenz Petersen, the three members of the Antwerp-based Weyts family (who always painted in reverse on glass), Henry Loos of Antwerp and his son John Loos, also based in Belgium, all refl ect their Roux family stylistic roots. Further north, imitators included Jacob Spin and DA Teupken of Amsterdam and the Scandinavians Jacob Petersen and Peder Foss. The Roux infl uence also spread southwards to Italy, to Vincenzo, Luzzo and his son Giovanni, to Felice Palli of Venice and Trieste, to Domenico Gavarrone of Genoa, to Luigi Renault and Giuseppe Fedi of Leghorn, to the de
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