Lot Essay
The concept of yachting, and indeed the word yacht, derived from the Dutch jaght (meaning to hunt), a small, lightweight, fast warship which soon developed from its origins as a naval vessel into a luxury craft for the elite to cruise the waterways of the Netherlands during the 17th century. Before long an element of competition developed and informal races between yachts became a regular sight. Both the practice of yachting and the ships themselves were brought to England in 1660 with the restoration of Charles II to the throne after years in exile at the Dutch court. King Charles and his brother James, Duke of York, were keen sailors and commissioned a number of elegant Royal Yachts such as the Katherine and the Cleveland. These in turn were recorded for posterity by the nascent school of marine art that was developing in Britain under the influence of the van de Veldes and their studio.
Where the Royal family led, the court soon followed and by the 18th century aristocratic families were commissioning their own elegant yachts and developing an enthusiasm for sailing. Such yachts were obviously highly prized possessions, as evidenced in the present work. Commissioned around 1739 by Sir William Courtenay (1710-1762), 1st Viscount Courtenay of Powderham Castle, Devon from Samuel Scott, one of the leading maritime artists of the day, the painting cements the Courtenays’ status as one of the principle families in the country.
In 1325 Hugh de Courtenay, Earl of Devon, married Margaret de Bohun, granddaughter of Edward I. Along with her Royal blood Margaret also brought the manor of Powderham as part of her dowry, thereby establishing a familial relationship with the land that has lasted for seven centuries. Powderham’s strategic location on the Exe estuary allowed the Courtenays to command the busy continental trade route out of the Exe. Taking the Royalist side during the civil war the Castle was besieged in 1645 and the resulting damage led to its abandonment for decades after. However, in the early 18th century Sir William Courtenay, 2nd Bt. (1675-1735), and later his son, Sir William, 1st Viscount Courtenay, were responsible for restoring and adapting the ancestral seat and turning it into a Georgian treasure house. They commissioned local and national craftsmen to transform the interiors in accordance with the fashions of the age. This patronage also extended outside the house with the building and decorating of the family’s private yacht, the Neptune, which is believed to be the ship depicted here. It was a particularly sumptuous and elegant example, a fact which is corroborated by entries in the family accounts which record commissions, some as early as 1728, made by Sir William to the young Thomas Hudson to paint sea pieces to go over the fireplaces in the ship's cabin.
Scott depicts the Neptune at anchor off Starcross on the Exe with her crew making ready to sail. Particular care has been taken to show the decorations along the gunwale and around the gun ports. Given their naval heritage private yachts were armed with canon which also gave them additional protection against privateers or enemy craft. On deck Sir William can be seen presenting himself to the captain, having just come on board, whilst the crew fire a one gun salute in honour of the ship's owner. At the stern a small landing craft is unloading supplies for the voyage including, perhaps most importantly, the single bottle of wine, or port, which is being handed to the waiting servant.
Where the Royal family led, the court soon followed and by the 18th century aristocratic families were commissioning their own elegant yachts and developing an enthusiasm for sailing. Such yachts were obviously highly prized possessions, as evidenced in the present work. Commissioned around 1739 by Sir William Courtenay (1710-1762), 1st Viscount Courtenay of Powderham Castle, Devon from Samuel Scott, one of the leading maritime artists of the day, the painting cements the Courtenays’ status as one of the principle families in the country.
In 1325 Hugh de Courtenay, Earl of Devon, married Margaret de Bohun, granddaughter of Edward I. Along with her Royal blood Margaret also brought the manor of Powderham as part of her dowry, thereby establishing a familial relationship with the land that has lasted for seven centuries. Powderham’s strategic location on the Exe estuary allowed the Courtenays to command the busy continental trade route out of the Exe. Taking the Royalist side during the civil war the Castle was besieged in 1645 and the resulting damage led to its abandonment for decades after. However, in the early 18th century Sir William Courtenay, 2nd Bt. (1675-1735), and later his son, Sir William, 1st Viscount Courtenay, were responsible for restoring and adapting the ancestral seat and turning it into a Georgian treasure house. They commissioned local and national craftsmen to transform the interiors in accordance with the fashions of the age. This patronage also extended outside the house with the building and decorating of the family’s private yacht, the Neptune, which is believed to be the ship depicted here. It was a particularly sumptuous and elegant example, a fact which is corroborated by entries in the family accounts which record commissions, some as early as 1728, made by Sir William to the young Thomas Hudson to paint sea pieces to go over the fireplaces in the ship's cabin.
Scott depicts the Neptune at anchor off Starcross on the Exe with her crew making ready to sail. Particular care has been taken to show the decorations along the gunwale and around the gun ports. Given their naval heritage private yachts were armed with canon which also gave them additional protection against privateers or enemy craft. On deck Sir William can be seen presenting himself to the captain, having just come on board, whilst the crew fire a one gun salute in honour of the ship's owner. At the stern a small landing craft is unloading supplies for the voyage including, perhaps most importantly, the single bottle of wine, or port, which is being handed to the waiting servant.