William Hodges, R.A. (1744-1797)
These lots have been imported from outside the EU … Read more In the evening, about sun-set, we plainly saw the mountains of that desirable island, lying before us, half emerging from the gilded clouds on the horizon. Every man on board, except one or two who were not able to walk, hastened eagerly to the forecastle to feast their eyes on an object, of which they were taught to form the highest expectations. George Forster, Sunday, 15 August 1773
William Hodges, R.A. (1744-1797)

A View of Vaitepiha Bay, Tahiti (Tautira Valley from Tautira Bay)

Details
William Hodges, R.A. (1744-1797)
A View of Vaitepiha Bay, Tahiti (Tautira Valley from Tautira Bay)
oil on sailcloth
14 ¼ x 20 ½in. (36.2 x 52.1cm.)
Provenance
(according to the Phillips 1992 catalogue) Purchased from Hodges by George Woodward towards the end of the artist’s life, and thence by descent to Jenny Aldridge, Woodward's great-great-granddaughter, of Hurst Dene, St Leonards, East Sussex, and thence by descent; sale, Phillips, London, 28 April 1992, lot 32.
Literature
G. Quilley and J. Bonehill, William Hodges 1744-1797: the Art of Exploration, New Haven and London, 2005, p.89, no.10 (illustrated in colour).
L. Simmons, Tuhituhi, William Hodges, Cook’s Painter in the South Pacific, Dunedin, 2011, pp.103-5, fig. 4.2 (illustrated in colour).
Exhibited
New Haven, Yale Center for British Art, William Hodges 1744-1797: the Art of Exploration, Jan.-April 2005, no.10.
San Diego, Maritime Museum of San Diego, Cook, Melville & Gauguin Three Voyages to Paradise, May 2011-Jan. 2012, no.51.
Special notice
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
Sale room notice
Please note that the medium for this lot should read oil on sailcloth.

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Nicholas Lambourn
Nicholas Lambourn

Lot Essay

This picture, which only came to light at the Phillips sale in 1992, shares the size and manner of Hodges's relatively few canvases painted on the voyage. It is the sketch from which he developed his 'A View taken in the Bay of Otaheite Peha' (National Trust, Angelsea Abbey), one of the pair of Tahitian pictures exhibited at the Royal Academy in 1776 (with the Matavai Bay view now at Yale), and the variant 'Oaitepeha Bay', also called 'Tahiti Revisited' (at Greenwich). There is a smaller variant on panel in a private collection, UK. (For these see R. Joppien and B. Smith, The Art of Captain Cook's Voyages, II, The Voyage of the Resolution & Adventure, 1772-1775, London and New Haven, 1985, pp.159-60, 2.41-2.43). Although it differs in size, technique, and palette, from the field study for the Matavai Bay pictures (see lot 7), it is similarly a topographical field study, the matrix from which the large exhibition pictures were developed, and, as with the other small field studies made in the Society Islands, a vibrant and sparkling first impression of this extraordinary and beguiling tropical environment. Its status was first described and discussed by John Bonehill in the 2004 Hodges exhibition catalogue: 'Which works Hodges executed on the voyage and which he painted on his return to London has long been the subject of debate. It is virtually certain, however, that this recently rediscovered view of Vaitepiha Bay dates from the Resolution's brief visit there in mid-August 1773. Comparable in size and in the type of canvas to accepted voyage pictures, it is executed in a fluent, swiftly brushed manner. Similarly, its brilliant, contrasting tones of blue, green and umber, with white impasto highlights, are characteristic of the other oil studies Hodges made during the first weeks spent in the Society Islands. ... Comparison with those ambitious, polished and overtly classicizing post-voyage works sheds some light on what was involved in translating studies into finished paintings. The later works retain many topographical features from the view made on the spot, such as the grove of trees, the path followed by the river and the profile of the isalnd's volcanic peaks, but also dramatically exaggerate the perspective. The concern to recapture the atmospheric qualities is a conspicuous feature of all Hodges's voyage works. In this initial study Hodges bathes the landscape in a tropical sun, highlighted in the glinting spears carried by the warriors in the middle ground. However, their presence, together with the reed hut framed by the swaying palms, also displays a concern with the islanders' material social circumstances.' (J. Bonehill, Willliam Hodges 1744-1797 The Art of Exploration, London, 2004, p.89).
The Resolution and Adventure sailed south from New Zealand on 7 June 1773, and then north-east, and north, as Cook scoured this section of the Pacific, looking for signs of the southern continent on the 'First Tropical Sweep' (June-October 1773). They sighted Tahiti at 6pm on the evening of Sunday 15 August. George Forster described the scene as they were off Tautira Bay (called 'Oati-peha' by Cook) the following morning: '[Monday 16 August 1773] It was one of those beautiful mornings which poets of all nations have attempted to describe, when we saw the isle of O-Taheitee, within two miles before us. The east-wind which had carried us so far, was entirely vanished, and a faint breeze only wafted a delicious perfume from the land, and curled the surface of the sea. the mountains, clothed with forests, rose majestic in various spiry forms, on which we had already perceived the light of the rising sun: nearer to the eye a lower range of hills, easier of ascent, appeared, wooded like the former, and coloured with several pleasing hues of green, soberly mixed with autumnal browns. At their foot lay the plain, crowned with its fertile bread-fruit trees, over which rose innumerable palms, the princes of the grove. ... About half a mile from the shore a ledge of rocks level with the water, extended parallel with the land, on which the surf broke, leaving a smooth and secure harbour within.' (G. Forster, A Voyage Round the World, Honolulu, 2000, p.143).
Swept inshore by a strong current when the breeze failed the ships were driven perilously close to the reef, and the Resolution grounded briefly and was pounded, before Cook laid out a kedge anchor and she was pulled off into deeper water. The young Forster again described the events that unfolded in his journal: ' ... the tide, during a perfect calm, had driven us by insensible degrees towards the reef of the rocks; and actually set us upon it, before we could come to the entrance of the harbour, which was as it were within our reach. Repeated shocks made our situation every moment more terrifying; however, providentially there was no swell which broke with any violence on the rocks, and the sea breeze, which must have brought on absolute destruction to us, did not come in all day. The officers, and all the passengers, exerted themselves indiscriminately on this occasion, hoisted out the launch, and afterwards by heaving upon an anchor, which had been carried out to a little distance, succeeded in bringing the vessel afloat. ... We stood off and on all night, and saw the dangerous reefs illuminated by a number of fires, by the light of which the natives were fishing. ... The next morning we resumed our course toward the shore, and stood in along the north part of the lesser peninsula. ... About eleven o'clock we anchored in a little harbour called O-Aitepeha, on the north-east end of the southern or lesser peninsula of Taheitee, named Tiarraboo.' (G. Forster, Ibid, pp.146-148).
Forster once again here describes the picture Hodges paints: '[Wednesday 18 August 1773] We contemplated the scenery before us early the next morning, when its beauties were most engaging. The harbour in which we lay was very small, and would not have admitted many more vessels beside our own. The water in it was as smooth as the finest mirrour, and the sea broke with a snowy foam around us upon the outer reef. The plain at the foot of the hills was very narrow in this place, but always conveyed the pleasing ideas of fertility, plenty, and happiness. Just over against us, it ran up between the hills into a long narrow valley, rich in plantations, interspersed with the houses of the natives. The slopes of the hills, covered with woods, crossed each other on both sides, variously tinted according to their distances; and beyond them, over the cleft of the valley, we saw the interior mountains shattered into various peaks and spires, among which was one remarkable pinnacle, whose summit was frightfully bent to one side, and seemed to threaten its downfall every moment. The serenity of the sky, the genial warmth of the air, and the beauty of the landscape, united to exhilarate our spirits.' (G. Forster, p.150).
Cook's stay off Tautira was brief, as the ships, in need of fresh food after the privations of the long Antarctic cruise, were not able to procure enough hogs, and so moved on to Matavai Bay on 26 August. Hodges had though spent much time on shore, sketching the scenery and people, as recorded by Forster again, as he went collecting in the hills: 'We could have been well pleased to have passed the whole day in this retirement: however, after finishing our notes, and feasting our eyes once more with the romantick scenery, we returned to the plain. Here we observed a great croud of the natives coming towards us, and at their near approach perceived two of our ship-mates, Mr. Hodges and Mr. Grindall, whom they surrounded and attended on their walk. We soon joined them, and resolved to continue our excursions together. A youth, of very promising countenance, who had distinguished himself by shewing a particular attachment for these gentlemen, was entrusted with Mr Hodges's port-folio, where he preserved the sketches and designs, which he had frequent opportunities of making on his walk. ... Charmed with the picture of real happiness, which was thus exhibited before us, Mr Hodges filled his port-folio with several sketches, which will convey to future times the beauties of a scene, of which words can give a feint idea. (G. Forster, pp.161-62).
The striking scenery here, where the inland mountains are glimpsed up the valley from the mouth of the Vaitepiha river at Tautira, was also sketched in a fine drawing by Peter Fannin ('The Remarkable appearance of Little Otahita as you stand into Otapia Bay abt 3 miles off Shore') for which see A. David (ed.), The Charts and Coastal Views of Captain Cook's Voyages, The Voyage of the Resolution and Adventure 1772-1775, London 1992, p.114, 2.93). The valley was painted by Webber and Ellis on Cook's third voyage in August 1777 (Joppien and Smith, 3.81-3.92A). This same scenery would entrance Robert Louis Stevenson in 1888. The little village of Tautira on the point was where he came in October-November 1888 to be tended back to health by Princess Moe, having fallen ill on his South Seas cruise: 'I threw one look to either hand, And knew I was in Fairyland' (Songs of Travel, 1896).

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