Peter Monamy (London 1681-1749) The Royal Yacht Peregrine and her escorts off Gillingham, Kent, acknowledging a salute as she passes Upnor Castle
Lot 121W
Peter Monamy
(British 1681-1749)
The Royal Yacht Peregrine and her escorts off Gillingham, Kent, acknowledging a salute as she passes Upnor Castle
Sold for £160,900 (US$ 252,329) inc. premium

Lot Details
Peter Monamy (London 1681-1749) The Royal Yacht Peregrine and her escorts off Gillingham, Kent, acknowledging a salute as she passes Upnor Castle
Peter Monamy (British 1681-1749)
The Royal Yacht Peregrine and her escorts off Gillingham, Kent, acknowledging a salute as she passes Upnor Castle
signed 'P. Monamy' (on driftwood lower centre)
oil on canvas
67.3 x 155cm (26 1/2 x 61in).

Footnotes

  • Provenance
    Sale, Sotheby's London, 13th November 1991 British Paintings 1500-1850, lot 2, as 'The Royal Yacht Peregrine and a smack rigged Royal Yacht on the Medway off the coast at Gillingham, Kent, with Upnor Castle'
    with Richard Green Fine Paintings Ltd.
    J. W. Robertson Esq. (bought from the above, 1992)

    Exhibited
    Richard Green Fine Paintings Ltd., Exhibition of Marine Paintings, 1992, no. 1

    Literature
    Richard Green Fine Paintings Ltd., Exhibition of Marine Paintings, 1992, no. 1, illustrated in colour
    F.B. Cockett, Peter Monamy 1681-1749 and his circle, Woodbridge, Suffolk, 2000, illustrated colour plate 16, p.57

    Designed by Peregrine, Lord Danby (later the Marquess of Carmarthen) to replace his earlier yacht Royal Transport which had been given to the Russian Tsar Peter (the Great) when the latter visited England in 1698, the so-called Peregrine Galley was built at Sheerness by Master Shipwright R. Lee in 1700. Measured by her builder at 197 tons burden, she was 87 feet in length with a 22½ foot beam and classed as a sixth rate mounting 20-guns. Taken straight into naval service by William III upon completion in 1700, she was not, in fact, specifically classed as a Royal Yacht until after her refit and renaming as the Carolina in 1716. However, such was the success of her design, coupled with the lavishness of her appointments, that she was frequently used as a royal yacht throughout the reign of Queen Anne (1702-14) and was the obvious choice to convey George I to England after his accession. The new King, having travelled to Holland overland from Hanover, boarded the Peregrine at Oranil Polder on 16th September 1714 and, escorted by Admiral Berkeley and a fleet of twenty sail, made the short journey across to the Thames estuary. Sailing up-river to Greenwich, George disembarked there for his carriage journey into London but not before pausing to knight Peregrine's captain William Sanderson in thanksgiving for his safe arrival.

    Renamed Carolina in 1716 in honour of the new Princess of Wales – the future Queen Caroline, wife of George II – the Peregrine was later extensively rebuilt and renamed Royal Caroline in 1733. Converted to a sloop and reverting to her original name in 1749, she was last seen in heavy weather in the western approaches on 28th December 1761 whilst en route to the West Indies, after which she disappeared without trace with the loss of all hands.

    This attractive work, by far the most widely reproduced image of this particular royal yacht, can be dated fairly precisely to 1707-14 as Peregrine herself, in addition to flying post-1707 (Union with Scotland) Union flags, is also shown wearing the Royal Standard of Queen Anne at her main masthead. At the foremasthead is the equally distinctive flag of the Lord High Admiral [of England] which would suggest that this painting almost certainly commemorates a visit by Prince George, Queen Anne's consort and also her Lord High Admiral, to Chatham, either to inspect the dockyard facilities or possibly to witness the launching of a new man-o'war.


    Works by Monamy are in the collections of the National Gallery, Dublin (2), City Art Gallery, Glasgow (1), National Maritime Museum, Greenwich (21), Painter Stainers' Company, London (2), Metropolitan Museum, New York (1) and the National Gallery of New South Wales, Sydney (1)










    FOOTNOTE AND ILLUSTRATION TO COME.
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