Catalog entry

Commentary

Lane’s depiction of the schooner yacht "America’s" victory at Cowes, England, is a close copy of Thomas Dutton’s lithograph, which in turn was based on an on-site drawing of the occasion by Oswald W. Brierly. The differences between the painting and its source are most noticeable in the sea and sky. The water in the Lane foreground is dark, enhancing the contrast between the schooner and the light green water surrounding it. Lane’s sky is also more dramatic, with a more defined bank of cumulus clouds on the horizon and whisps of cirrocumulus above.

On the horizon at left are The Needles, a striking formation of chalk rising out of the sea at the far west end of the Isle of Wight. The Needles were the turning point for the final leg of the race for the Queen’s Cup (as the America’s Cup was then called). Most of the Royal Yacht Squadron’s participants have cleared this mark and are bearing off for the downwind run through the Solent, the strait separating the Isle of Wight from the English mainland.

Only one cutter (left) is anywhere near "America" as she romps, with her sails wing and wing, to the finish line. In the right foreground, a small ketch-rigged pleasure boat hoists sail as its passengers raise their hats and cheer the schooner on. Neither of two large steam yachts in the background appear to be flying royal colors, so they are likely private yachts with guest observers packed closely on board. (1)

Ironically, Lane’s detailing of "America" dispenses with deck and rigging details shown in the Dutton lithograph and other reliable sources. The omitted details include: after companionway and cabin skylight, capstan, and main topmast stay, as well as foresail and fore-staysail bonnets. All are items with which Lane showed familiarity in his other depictions of schooners—both yachts and working craft. The absence of deck detail is not even consistent with what we see in his earlier “Three Views” depiction of "America" in her conceptual state (see Yacht "America" from Three Views, c.1851 (inv. 395)). 

Earlier efforts to relate this painting to its subject have led to the conclusion that "America" was in an early stage of design or construction when (and if) Lane had the opportunity to inspect it. He therefore never saw the schooner in its complete state and may have decided to depict only those details of which he was certain. Lacking any information regarding the painting’s early provenance, it seems unwise to speculate further. (2)

– Erik Ronnberg

References:

1. John Rousmaniere, The Low Black Schooner: Yacht America, 1851–1945  (Mystic, CT: Mystic Seaport Museum Stores, Inc., 1986), 27–38.

2. Erik A.R. Ronnberg, Jr., “Fitz Henry Lane’s Yacht America from Three Views: Vessel Portrait or Artist’s Concept”, Antiques and Fine Arts (Summer/Autumn 2010): 174–79.