Lot 79 | Property from the estate of glen s. foster ELISHA TAYLOR BAKER (1827-1890) The Seawanhaka
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Corinthian Yacht Club Cutter ~dq~Bedouin~dq~ off Execution Rocks Lighthouse signed with monogrammed initials and artist~dq~s insignia (lower left) oil on canvas 25 x 297/8 in. (63.5 x 75.9 cm) painted circa 1885 provenance Glen S. Foster, new york Literature John Parkinson, Jr., The History of The New York Yacht Club, New York, 1975, vol. I, pp. 109-111, 114, 116, photograph of the Bedouin facing: 117-118, 122, 129, 135, 139, 140, 147, 171 N.L. Stebbins, Stebbins~dq~ Illustrated Coast Pilot, Boston, 1891, p.17 for photograph of Execution Rocks Lighthouse as seen from the same bearing as in the painting W.P. Stephens, the seawankhaka corinthian yacht club: origins and early history, 1871-1896, New York, 1963, pp. 84-85, 87, 106-108, 113-115, 118, 152, 169, 183,185, illus. facing p. 46 W.P. Stephens, Traditions and Memories of American Yachting, Camden, 1981, pp. 310-311, 313-314, 316, 319-320, 327-328, 347-348, 350-352 James Taylor, yachts on canvas: artists~dq~ images of yachts from the seventeenth century to the present day, london, 1998, p. 101 (illustrated in color) Englishman John Harvey designed the cutter Bedouin for wealthy sportsman and neophyte yachtsman Archibald Rogers (1851-1928). Henry Piepgrass built her at Brooklyn, N.Y., in 1882. Bedouin measured 83~dq~10" L.O.A., 70~dq~0" L.W.L., 15~dq~8" breadth, 12~dq~6" depth, 11~dq~6" draft, sail area 5,196 square feet. In August of 1885 she competed against Puritan, Priscilla and Gracie in The America~dq~s Cup Trials. Elisha Taylor Baker, a housepainter, paperhanger, and self-taught marine artist portrayed this version of the Bedouin passing Execution Rocks Lighthouse in his trademark luminist style. Bedouin was flagship of the Seawanhaka Corinthian Yacht Club in 1884-1885 when her owner, Archibald Rogers, was commodore. Long thought to be the Genesta, it is more likely that Baker painted the Bedouin at this time because of his choice of subject matter and palette, and his use of key stylistic and compositional elements that date from the last five years of his career (1881-1886).


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