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拍品專文
For the origins of this work, see lot 158.
The Royal Yacht Club Regatta at Cowes was only in its second year in 1827, and was already a highlight of the aristocratic summer season. Here Turner’s drawing essentially anticipates (but in reverse) the composition of one of the two oil paintings that he had been commissioned to create for his host (see East Cowes Castle, the Seat of John Nash, Esq.; the Regatta beating to Windward,1828, Indianapolis Museum of Art, inv. 71.32).
Instead of the flapping seagulls in the sketch, the foreground in the finished picture is dominated by a large red buoy, presumably a marker around which the yacht is racing to turn. In the distance a large three-masted vessel is anchored off Cowes, and was quite likely the viewing station from which Turner himself watched some of the action (see Between Decks, 1827, Tate Britain, inv. N01996).
We are grateful to Ian Warrell for his help in preparing this catalogue entry.
The Royal Yacht Club Regatta at Cowes was only in its second year in 1827, and was already a highlight of the aristocratic summer season. Here Turner’s drawing essentially anticipates (but in reverse) the composition of one of the two oil paintings that he had been commissioned to create for his host (see East Cowes Castle, the Seat of John Nash, Esq.; the Regatta beating to Windward,1828, Indianapolis Museum of Art, inv. 71.32).
Instead of the flapping seagulls in the sketch, the foreground in the finished picture is dominated by a large red buoy, presumably a marker around which the yacht is racing to turn. In the distance a large three-masted vessel is anchored off Cowes, and was quite likely the viewing station from which Turner himself watched some of the action (see Between Decks, 1827, Tate Britain, inv. N01996).
We are grateful to Ian Warrell for his help in preparing this catalogue entry.