NOTABLE SALES

Paintings

The collection consists of Dutch and Flemish paintings from the 17th, 18th and 19th centuries with shipping and cartography as subjects. Below is an overview of some of the works currently available.

Drawings

The collection consists of Dutch and Flemish drawings from the 17th, 18th and 19th centuries on shipping and cartography. Below is an overview of some of the works currently available.

Prints & books

The collection consists of Dutch and Flemish graphics & books from the 17th, 18th and 19th centuries on shipping and cartography. Below is an overview of some of the works currently available.

Ship’s antiques

Our collection consists of Dutch and Flemish ship’s antiques from the 17th, 18th and 19th centuries on shipping and cartography. Below is an overview of some of the works currently available.

Paintings

HENDRICK CORNELISZ VROOM

(1562 – Haarlem-1640)

Tempest

Oil on canvas, 98 x 183 cm

Signed: l. c.  on 1st flag: VROOM

Dated:  r. c. on 2nd flag: 1629

Provenance: France, Noble Collection

A pair

Both signed and dated: VROOM 1629

One of a pair of two. The calm was on loan to the Dutch National Archive. The tempest was on loan to the Singer Museum for the exhibition ‘Weer en wind. Avercamp tot Willink (03.09.2019 till 05.01.2020)

For extensive information see: Brochure A very rare pair of Seascapes by HENDRICK CORNELISZ VROOM (1566 – Haarlem – 1640), Rob Kattenburg BV 2017

Vroom, A very rare pair of Seascapes, Calm and Tempest 2

 

HENDRICK CORNELISZ. VROOM

(1562 – Haarlem-1640)

A Calm

Oil on canvas, 98 x 183 cm

Signed: c.  on 2nd flag: VROOM

Dated:  r. c.  on the 3rd flag: 1629

Provenance: France, Noble Collection

One of a pair of two.

Both signed and dated: VROOM 1629

This painting was on loan to the VOC exhibition in the National Archive, The Hague, (24.02.2017 till 24.06.2018). The painting is was also on loan to the Royal library of Belgium, Brussels for the exposition ‘Breughel in black and white’. (14.10.2019 till 16.02.2020)

Vroom, A very rare pair of Seascapes, Calm and Tempest 2

 

HANS SAVERY I

(Kortrijk ca. 1564 – after 1622 Haarlem)

The East Indiaman ‘Amsterdam’ and a large number of Amsterdam warships at sea, ca. 1600

Oil on panel, 87.5 x 156 cm

Signed on bale lower right: H. Savery

Formerly Rob Kattenburg Collection

Purchased by the Nederlands Scheepvaartmuseum, Amsterdam

2002, Hans Savery the Elder – An extremely rare and important marine painting – The Dutch East Indiaman AMSTERDAM together with several Amsterdam man-of-war in stormy weather

HENDRICK CORNELISZ. VROOM

(Haarlem 1566 – 1640)

A Spanish galleon in action with two Dutch ships

Oil on panel, 42.5 x 64 cm

Signed in flag middle right.: VROOM

Formerly Rob Kattenburg Collection

HENDRICK CORNELISZ. VROOM

(Haarlem 1566 – 1640)

Beach scene with view of Scheveningen

Oil on panel, 36.6 x 62.4 cm

Signed and dated on driftwood lower right: Vroom 1623

Provenance: Netherlands, J. van Duijvendijk, Scheveningen, 1963, Formerly Rob Kattenburg Collection

Literature: L J. Bol, Die Hollandische Marinemalerei des 17. Jahrhundert, Brunswijk, 1973, p. 13, note 27; M. Russell, Visions of the Sea; Hendrick C. Vroom and the Origins of Dutch Marine Painting, Leiden, 1983, p. 155, fig. 138a; J. Giltaij en J. Kelch, Lof der Zeevaart, De Hollandse zeeschilders van de 17de eeuw, Rotterdam, 1996, pp. 90-1, no. 5, ïllustrated.

HENDRICK CORNELISZ. VROOM

(Haarlem 1566 – 1640)

Dutch and Spanish men-o’-war in open seas

Oil on canvas, 125 x 255 cm

Signed on stern center right: VROOM

Dated: c. 1628

Provenance: Netherlands, Private collection, Amsterdam; on loan to the Westfries Museum, Hoorn, 1999-2011.

Literature: J. Briels,Vlaamse schilders en de dageraad van Hollands Gouden Eeuw : 1585 – 1630, Antwerpen 1997, p. 177 (ill. 264); R.B. Prud’homme van Reine, Symbolische afbeelding van de overwinningen van Jan Pieterszoon Coen op de Spanjaarden en Portugezen: een schilderij door Hendrick Corneliszoon Vroom, Amsterdam 1998.

Formerly Rob Kattenburg Collection

Purchased by the Peabody Essex Museum, Salem, USA

HENDRICK CORNELISZ. VROOM

(Haarlem 1566 – 1640)

A Spanish galleon in battle with two Dutch ships

Oil on panel, 42.5 x 64 cm

Signed in flag lower right: Vroom

Provenance: Netherlands, private collection

CORNELIS CLAESZ. VAN WIERINGEN

(Haarlem c. 1575 – 1633)

The capture of Damietta, before 1628

Oil on panel, 72.6 x 136.5 cm

Signed on flag lower right: CORNELIS W

Provenance: Probably executed as a modello for the painting in the Calivermen’s Headquarters, Haarlem before 1628; Collection Cl. Vignat, Neuilly, Paris 1953; with Galerie Marcus, Paris 1957; Private collection, The Netherlands.

Literature: E.J. Kalf, De ‘Val van Damiate’ of het nut van vergissingen, in: Haerlem jaarboek 1980; Wiepke Loos, Willem Thybaut en een Haarlemse legende op Gouds kerkeglas, 1596, Spiegel Historiael, Vol. 17 (1982) pp. 213-220; Wim van Anrooij, Middeleeuwse sporen van de Haarlemse Damiate-legende, 1993; Ron J.W.M. Brand, “Bedreven in de konst van schepen ende see”. Cornelis Claesz. van Wieringen en de zeeschilderkunst aan het begin van de zeventiende eeuw, Pijnacker 1995; I. van Thiel-Stroman, Cornelis Claesz van Wieringen, in: Painting in Haarlem 1500-1850, Gent-Haarlem 2006, p. 343-346; Willem Frijhoff, Damiette appropriee, in: Revue du Nord, Vol. 88 no. 364 (jan-mrt 2006), pp. 7-42; J.J. van Moolenbroek, De ketting van Damietta, een Haarlems zaagschip en Willem I van Holland. Over de wording en standaardisering van een kruistochtmythe, in: Jaarboek voor Middeleeuwse Geschiedenis 14 (2011), Bussum 2012.

CORNELIS CLAESZ. VAN WIERINGEN

(Haarlem ca. 1575 – 1633)

Battle of Gibraltar, April 25, 1607

Oil on panel, 48.6 x 114.8 cm, modello for the 1622 dated painting in the Maritime Museum Amsterdam

Signed lower right.: fcw

Formerly Rob Kattenburg Collection

Acquired for the Nederlands Scheepvaartmuseum, Amsterdam

Exhibited: Amsterdam, Maritime Museum, and The Hague, The Mauritshuis, Terugzien in Bewondering, 1982, no. 95; Rotterdam, Museum Boymans van Beuningen and Berlin. Gemäldegalerie im Bodesmuseum, Lof der Zeevaart. De Hollandse zeeschilders van de 17e eeuw, 1996-97, cat. no. 10.

CORNELIS CLAESZ. VAN WIERINGEN

(Haarlem ca. 1575 – 1633)

Battle of Gibraltar, April 25, 1607

Oil on panel, 48.6 x 114.8 cm

Modello for the 1622 dated painting in the Scheepvaartmuseum

Signed lower right : FCW

Formerly Rob Kattenburg collection

Acquired for the Nederlands Scheepvaartmuseum, Amsterdam

CORNELIS CLAESZ. VAN WIERINGEN

(Haarlem c. 1575 – 1633)

The capture of Damietta, before 1628

Oil on panel, 72.6 x 136.5 cm

Signed on flag lower right: CORNELIS W

Provenance: Probably executed as a modello for the painting in the Calivermen’s Headquarters, Haarlem before 1628; Collection Cl. Vignat, Neuilly, Paris 1953; with Galerie Marcus, Paris 1957; Netherlands, private collection.

Literature: E.J. Kalf, De ‘Val van Damiate’ of het nut van vergissingen, in: Haerlem jaarboek 1980; Wiepke Loos, Willem Thybaut en een Haarlemse legende op Gouds kerkeglas, 1596, Spiegel Historiael, Vol. 17 (1982) pp. 213-220; Wim van Anrooij, Middeleeuwse sporen van de Haarlemse Damiate-legende, 1993; Ron J.W.M. Brand, “Bedreven in de konst van schepen ende see”. Cornelis Claesz. van Wieringen en de zeeschilderkunst aan het begin van de zeventiende eeuw, Pijnacker 1995; I. van Thiel-Stroman, Cornelis Claesz van Wieringen, in: Painting in Haarlem 1500-1850, Gent-Haarlem 2006, pp. 343-346; Willem Frijhoff, Damiette appropriee, in: Revue du Nord, Vol. 88 no. 364 (jan-mrt 2006), pp. 7-42; J.J. van Moolenbroek, De ketting van Damietta, een Haarlems zaagschip en Willem I van Holland. Over de wording en standaardisering van een kruistochtmythe, in: Jaarboek voor Middeleeuwse Geschiedenis 14 (2011), Bussum 2012.

ADAM WILLAERTS

(Antwerp 1577 – 1664 Utrecht)

Dutch ships off a rocky coast

Oil on panel, 40 x 75.5 cm

Signed and dated on the boat lower right: AD Willarts 1616

Formerly Rob Kattenburg Collection

ATTRIBUTED TO AERT ANTHONISZ. NAMED OF ANTUM

(Antwerp 1580 – 1620 Amsterdam)

Federico Spinola’s failed attempt to break the blockade of Dutch ships at Sluis, May 26, 1603

Oil on canvas, 138.2 x 244.7 cm

Formerly Rob Kattenburg Collection

Acquired by Nederlands Scheepvaartmuseum, Amsterdam

1991 – Aert Anthonisz genaamd van Antum – De mislukte poging van Frederico Spinola om de blokkade van Nederlandse schepen bij Sluis te doorbreken op 26 mei 1603 2

ATTRIBUTED TO AERT ANTHONISZ. NAMED OF ANTUM

(Antwerp 1580 – 1620 Amsterdam)

Federico Spinola’s failed attempt to break the blockade of Dutch ships at Sluis, May 26, 1603

Oil on canvas, 138.2 x 244.7 cm

Formerly Rob Kattenburg Collection

Acquired by Nederlands Scheepvaartmuseum, Amsterdam

JAN PORCELLIS

(Ghent ca. 1584 – 1632 Zoeterwoude)

The Dutch four-masters ‘Hollantsche Tuyn’ and ‘Roode Leeuw’

 Oil on panel, 51 x 71 cm

Signed in flag with initials lower middle: ip

Provenance: Netherlands, Private collection

ABRAHAM DE VERWER

(Haarlem ca. 1585 – 1650 Amsterdam)

 Ships on the Amstel River

Oil on panel, 32.5 x 42 cm

Signed in middle flag: VERWER

Formerly Rob Kattenburg Collection

Acquired by the Amsterdam Museum

Provenance: Sale Frederick Muller, April 1906 (?), cat. no. 151, Hoogendijk Collection Van Dongen Collection

Literature: L.J. Bol, Die Hollandische Marinemalerei des 17. Jahrhunderts, Braunschweig 1974, pp. 84-88, fig. 85.

Exhibitions: Zee-, Rivier- en Oevergezichten, Dordrecht, Dordrechts Museum, 12 July – 14 September 1964, no. 94, fig. 73. Stedenspiegel, The Hague, Gemeentemuseum, 20 October – 6 December 1964. Amsterdam in z’n element, Amsterdam, Waaggebouw, 21 October – end of December 1966. La Vie en Hollande au XVIIieme siecle, organisee par l’Institut Neerlandais, Paris, Musee des Arts Decoratifs, 11 January – 20 March 1967. Het Nederlandse Landschap in de 17e eeuw, Bolsward, Stadhuis, 14 June – 9 September 1967, no. 60, fig. 6. Collectie Van Dongen, Amsterdam, Museum Willet-Holthuysen, 25 April – 16 June 1968. Nederland Waterland, Amsterdam, P. de Boer Gallery, 13 January – 19 February 1972.

CORNELIS ISAACZ VERBEECK called SMIT

(Amsterdam c.1590 – Haarlem 1637 or later)

THE BLOCKADE OF THE PRIVATEERS’ NEST AT DUNKIRK with the ‘Vlieghende Groene Draeck’

Signed with monogram CVBH on the flag on the mizzen.

Oil on panel, 77 x 121 cm.

Provenance: The nobleman Philips van Dorp (1587-1652); Probably collection Cornelis van Teylingen (1590-1658); The collection of Lars Fredrik Lovén (1844-1939) and Louise Lovén, née Von Rosen (1853-1937), Linköping. Thence by descent to the previous owner. Rob Kattenburg collection.

Dendrochronological analysis by Prof. P. Klein shows that the painting can be dated in or after 1617.

Museums with works of Verbeeck: Greenwich, National Maritime Museum; London,National Gallery of Art; Washington, The National Gallery of Art; Barnard Castle, County Durham, The Bowes Museum; Haarlem, Frans Hals Museum; Amsterdam, Amsterdam Museum; Amsterdam, Scheepvaartmuseum; Cheltenham Art Gallery and Museum.

Literature:

  • –  Ampzing, Samuel. Beschrijvinge ende lof der stad Haerlem in Holland, Haarlem 1628: 372.
  • –  Schrevelius, Theodorus. Harlemias, ofte, De eerst stichtinghe der stad Haarlem, Haarlem 1648 (reprinted 1754): 445.
  • –  Houbraken, Arnold. De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen, 3 vols. in 1, The Hague 1753: 2:123.
  • –  Willigen, Adriaan van der. Les Artistes de Harlem: Notices historiques avec un précis sur la Gilde de St. Luc. Revised and enlarged ed. Haarlem and The Hague 1870: 20.
  • –  Rooses, Max. “Een veiling van schilderijen in 1616.” Oud Holland 13 (1895): 178.
  • –  Elias, Johan E. De Vlootbouw in Nederland in de eerste helft van de 17de eeuw 1596-1655. Amsterdam 1933: 60-61.
  • –  Bol, Laurens J. Die Holländische Marinemalerei des 17. Jahrhunderts. Braunschweig 1973: 45-48.
  • –  Preston, Colonel Rupert. Seventeenth-Century Marine Painters of the Netherlands. Leigh-on-Sea 1974: 15.
  • –  Miedema, Hessel. De Archiefbescheiden van het St. Lukasgilde te Haarlem: 1497-1798. 2 vols. Alphen aan den Rijn 1980: 2:419.
  • –  Doedens, Anne & Liek Mulder, Tromp, Het verhaal van een Zeeheld. Maarten Harpertzoon Tromp 1598-1653. Baarn1989: 15-25, 51.
  • –  Keyes, George S. Mirror of Empire: Dutch Marine Art of the Seventeenth Century. Exhibit. cat. Minneapolis Institute of Arts; Toledo (Ohio) Museum of Art; Los Angeles County Museum of Art, 1990-1991. Cambridge, England, 1990: 422.
  • –  Giltaij, Jeroen and Jan Kelch, Praise of Ships and the Sea, Rotterdam 1996: 137-138.
  • –  Vliet, A.P. van, “The influence of Dunkirk privateering on the North Sea (herring) fishery during the years 1580-1650”, in J. Roding and L. Heerma van Voss (eds.), The North Sea and Culture (1550-1800), (Leiden 1996), 150-165, esp. 156.
  • –  Prud’Homme van Reine. Schittering en schandaal. Biografie van Maerten en Cornelis Tromp. Amsterdam & Antwerp, 2001: pp. 33-39.
  • Paintings in Haarlem 1500-1850. The Collection of the Frans Hals Museum. Exbit. cat. Ghent & Frans Hals Museum, Haarlem 2006: pp. 316-318.

 

Formerly Rob Kattenburg collection

Purchased by the Museum of Fine Arts, Boston

PIETER CORNELISZ. VAN SOEST

(Born c. 1600-1620, employed c. 1640- 1673 or later)

The Battle of Schooneveld on 7 June and 14 June 1673

Oil on canvas, 151.5 x 239.8 cm.

Indistinctly signed: PV….

Provenance: United Kingdom, private collection

Pieter Corneliszoon van Soest

SIMON DE VLIEGER

(Rotterdam ca. 1600 – 1653 Weesp)

Oil on panel, 47 x 63 cm

Indistinctly signed on cask lower left, c. 1645

Provenance: United Kingdom, Rhug, Collection Lord Newborough. Sale J.G. Wynn, 12 April 1892; Netherlands, Kunsthandel P. de Boer, Amsterdam 1937; Sweden, Collection J.H. Bruyn, Stockholm; Netherlands, Kunsthandel F.H. Enneking,The Hague, 1960.

Literature: Laurens Johannes Bol, Zee-, rivier- en oevergezichten, Nederlandse schilderijen uit de 17e eeuw, Dordrecht 1964, p. 34 no. 99 (ill.); Jan Kelch, Studien zu Simon de Vlieger als Marinemaler [master thesis], Berlin 1971, p. 155 no. 38: ‘Entstanden: Spätzeit.’

Exhibited: Delft 1960: Oude Kunst- en Antiekbeurs Delft, Museum ‘Het Prinsenhof’, exhib. cat. (with ill.); Dordrecht 1964: Zee-, rivier- en oevergezichten, Nederlandse schilderijen uit de 17e eeuw, Dordrechts Museum, 11 July – 14 September 1964, no. 99.

SIMON DE VLIEGER

(Rotterdam ca. 1600 – 1653 Weesp)

 A calm sea, ca. 1635

Oil on panel, 59 x 81 cm

Signed on flag center right.: S. DE VLIEGER

Provenance: European private collection

SIMON DE VLIEGER

(Rotterdam ca. 1600 – 1653 Weesp)

The Battle between the fleet of Admiral Joris van Spilbergen and the Spanish armada under Admiral Rodrigo de Mendoza near Callao, Peru, 18 July 1615

Oil on canvas, 101.5 x 140 cm
Signed on the stern: S. DE VLIEGER

Provenance: Switzerland, private collection

Literature: R. Eggink,“Een seer wreet ende furieus combat“, Tableau 8 (1985) no.1, pp.80-84. It was to be published in Dr. J. Kelch catalogue of De Vlieger’s oeuvre, unfortunately he passed away before finishing his extensive project.

HANS GODERIS

(Haarlem ca. 1600 – after 1638)

Two ferries leaving the harbor at Hoorn, ca. 1625

Oil on panel, 27.6 x 44.5 cm

Formerly Rob Kattenburg collection

Acquired by the Westfries Museum, Hoorn

WILLEM VAN DE VELDE THE ELDER

(Leiden 1611 – 1693 London)

Dutch ships under way in a moderate breeze from the anchorage off Vlieland

Pen, ink and oil on panel, 42 x 62 cm

Signed below the cart on the left:  W.V.VELDE

c. 1645

Provenance: Netherlands, collection C.A.P. and G.R. Castendijk, Rotterdam; their sale 1978; Collection De Jong.

Literature: M.S. Robinson, The paintings of the Van de Veldes, Greenwich 1990, Vol. 1, p. 110, cat. nr. 820.

WILLEM VAN DE VELDE THE ELDER

(Leiden 1611 – 1693 London)

The unsuccesful attack of the English on a fleet of Dutch merchantmen at Bergen (Norway), 12 August 1665

Pen painting on canvas, 103 x 146 cm
Signed en dated lower right: W. v.Velde 166[8]

Provenance: United States; Blakeslee Galleries, New York, sale 7 March 1916, lot 166, as dated 1660.

Literature:National Maritime Museum, Van de Velde Drawings, 1958/1973, vol. I,p.X.
Rotterdam, Boymans-Van Beuningen Museum, The Willem van de Velde Drawings, I979, vol. I, p.37.

Formerly Rob Kattenburg collection

Purchased by the National Maritime Museum, Amsterdam

WILLEM VAN DE VELDE THE ELDER

(Leiden 1611 – 1693 London)

The ‘Gouden Leeuw’, the ‘Gouda’ and the ‘Prince’ among other ships at sea in a moderate breeze

Oil on canvas, 159.8 x 214 cm

Signed l.r.: W.v.velde: doude f 1684

Formerly Rob Kattenburg collection

Bequest to the National Maritime Museum, Amsterdam

WILLEM VAN DE VELDE THE ELDER

(Leiden 1611 – 1693 London)

The Brederode off Vlieland

Pen painting on panel, 24.7 x 32.5 cm

Signed lower right: W. v. Velde

Provenance: European private collection; Formerly Rob Kattenburg collection.

Literature: The ‘Brederode’ off Vlieland. An Early Pen Painting by Willem van de Velde the Elder, Kunsthandel Rob Kattenburg, Amsterdam 1988.

1988 – An early pen painting by Willem van de Velde the Elder – The Brederode off Vlieland

WILLEM VAN DE VELDE THE ELDER

(Leiden 1611 – 1693 London)

View of the IJ from the Old City Inn in Amsterdam

Pen painting on panel, 50.6 x 65.6 cm

Signed at lower left: ‘W.V. Velde

c. 1640

From left to right:
Volewijk, Nieuwendam (barely visible), Schellingwoude, in the middle, Ransdorp tower.
A homeward bound Dutch East Indiaman off Nieuwendam. Two water hoys to the right of centre, two flutes on the far right.

Provenance: United Kingdom, private collection

Formerly Rob Kattenburg collection

Literature: Daalder, R. Van de Velde & Zoon, zeeschilders: het bedrijf van Willem van de Velde de Oude en Willem van de Velde de Jonge, 1640-1707 (diss.), Amsterdam 2013. The English & Dutch trade edition of this study will be published by Primavera Pers, Leiden 2015.

For extensive information see: Brochure S. & R. Kattenburg, A very rare, unrecorded pen painting by Willem van de Velde the Elder, Rob Kattenburg BV 2015.

2014 – Willem van de Velde the Elder – A very rare unrecorded early pen painting

PIETER MULIER THE ELDER

(Haarlem c. 1615 – 1670)

A rough sea

Oil on panel, 32 x 46 cm

Indistinctly signed

Provenance: European private collection

Collections: London, National Maritime Museum, Amsterdam, Rijksmuseum, The Hague, Koninklijk Kabinet van Schilderijen Mauritshuis, Budapest, Museum of Fine Arts, Lyon, Musée des Beaux-Arts de Lyon

ALLAERT VAN EVERDINGEN

(Alkmaar 1621 – 1675 Amsterdam)

Coastal view

Oil on canvas, 65 x 83.5 cm

Signed with initials: AVE

Provenance: European private collection

HENDRICK JACOBSZ. DUBBELS

(Amsterdam 1621 – 1707)
The warship ‘Maarsseveen’ at anchor in an estuary
Oil on canvas, 115 x 155 cm,
Signed and dated lower middle: H. DUBBELS 1654
Provenance: Merlo Collection; Heberle/Lempertz Auction House, Cologne 1891, cat. no. 43 (ill.)
Literature: Fred. C. Willis, Die Niederländische Marinemalerei, verlag von Klinkhardt & Bierman in Leipzig 1911; Ulrike Middendorf, Hendrik J. Dubbels, pp 30, 114, cat.nr. 39 Freren 1989; Rudolphine Eggink, The Man-o’War “Maarsseveen”: A Masterpiece by H. Dubbels1654. Breukelen 1994.

REINIER NOOMS CALLED ZEEMAN

(1623/4 – 1664 Amsterdam)

The Battle of Livorno, 14 March 1653, Jan van Galen’s ‘Seven Provinces’ boarding the ‘Leopard’ under the command of Admiral Henry Appleton, on the right the frigate the ‘Sun’ under Captain Bogaert 

Oil on canvas, 78.5 x 115 cm

Signed in the commander’s flag: ZEEMAN

Provenance: France, private collection

Reinier Nooms

REINIER NOOMS CALLED ZEEMAN

(Amsterdam 1623/4 – 1664)

View of the IJ and the Naval Arsenal in Amsterdam at low tide in 1664

Oil on canvas, 52 x 68 cm

Signed and dated on the ship in the foreground: R ZEEMAN 1664

Provenance: France, private collection Amiens; Netherlands, private collection

Literature: R. Daalder ‘Oorlogsvoorbereidingen op het IJ’, in: Zeemagazijn, August 1994, pp. 3-4 (ill.)
J. Giltaij and J. Kelch, exhib. cat. Praise of ships and the sea: the Dutch marine painters of the 17th century,
Rotterdam (Museum Boijmans Van Beuningen) & Berlin (Staatliche Museen zu Berlin) 1996, pp. 284-285, cat. no. 61.

Exhibited: Amsterdam, Nederlands Scheepvaartmuseum, ’s -Lands Zeemagazijn, 1994, on loan to the museum from a Dutch private collection; Rotterdam, Museum Boijmans Van Beuningen, Lof der Zeevaart. De Hollandse zeeschilders van de 17de eeuw, 1996- 1997; Berlin, Staatliche Museen zu Berlin, Gemäldegalerie im Bodemuseum, Bodemuseum, Herren der Meere – Meister der Kunst. Das holländische Seebild im 17. Jahrhundert, 1997

Formerly Rob Kattenburg collection

Purchased by Nederlands Scheepvaartmuseum, Amsterdam

Rienier Nooms, View of the IJ and the Naval Arsenal in Amsterdam at low tide in 1664

REINIER NOOMS CALLED ZEEMAN

(1623/4 – 1664 Amsterdam)

Shipping off the coast of Calais

Oil on canvas, 64.3 x 39.4 cm

Signed on the ship in the middle: R. ZEEMAN

Provenance: Netherlands, private collection

Literature: Cf.; The Flag chart of Allaard ca. 1680. HOLLSTEIN’S DUTCH & FLEMISH/ ETCHINGS/ ENGRAVINGS/AND/ WOODCUTS/ 1450/ 1700/ 2001. Reinier Nooms, called zeeman etching (81) p. 239, ill. p.238, PASSENGER’S BOATS TO FLUSHING AT THE ROEADSTEAD OF CALAIS

JAN VAN DE CAPPELLE

(Amsterdam 1626 -1679)

A Calm Sea

Oil on panel, 35.6 x 54.6 cm

Signed lower left: I.V.C.

Provenance: European private collection

JAN THEUNISZ. BLANCKERHOFF, also called JAN MAAT (MAET)

(Alkmaar 1628 – Amsterdam 1669)

Ships off the coast, possibly Emden

Oil on canvas, 99.5 x 197.5 cm.

Monogrammed; bh (written together)

Provenance:  Jean-Isidore Harispe, Count Harispe (1768-1855), later Marshal of France in 1851.

The painting shows, from left to right, a Wydtship, a Two dekker, a Flute, a Yacht, and a Frigate.

2009 – Jan Teunisz Blanckerhoff ook wel genoemd Jan Maat – Schepen voor de kust, mogelijk van Emden

LUDOLF BACKHUYSEN

(Emden 1630 – 1708 Amsterdam)

Dutch ships on the roadstead of Texel; in the middle the ‘Gouden Leeuw’, Cornelis Tromp’s flagship

Oil on canvas, 92 x 140 cm

Signature and date, lower right: ‘L. Bakh. 1671’

Provenance: European private collection

LUDOLF BACKHUYSEN

(Emden 1630 – 1708 Amsterdam)

View of Amsterdam with Ships on the River IJ, in the Middle the Elaborately Decorated City Yacht

Oil on canvas: 117 x 173 cm.

Signed lower right on the barrel: Ludolf / Bakhui    

Dated on a spar lower left: 1696

Provenance: Sale Amsterdam, May 11, 1756, No. 28; Amsterdam, collection Gerret Braamcamp (1699-1771); Sale, Amsterdam, Schley etc., July 31, 1771, No. 5 (fl. 550 to Pieter Willemsz Calkoen, 1712-1780); Sale, Amsterdam, Schley, September 10, 1781, No. 2 (fl. 700, to Van der Schley, for Pieter de Smeth van Alphen (1753-1809); His deceased sale, Amsterdam, Schley, August 1, 1810, No. 4 (fl. 805, to Cornelis Sebille Roos, 1754-1820); Sale Amsterdam, Schley (Paul Iwan Hogguer), August 18, 1817, No. 2 (fl. 1400 to Lambert Jan Nieuwenhuys); Collection Christian Josi (1768-1828); Sale London, Christie’s (Josi), March 23, 1822, No. 63 (£ 262.10, to Colonel Hugh Duncan Baillie, 1777-1866); Sale London, Christie’s (Baillie), May 15, 1858, No. 26 (£ 420); Sale Cologne, M. Neven, March 17, 1879, No. 25 (7500 Marks); Sale London, E. von Niesewald of Mülheim, June 9, 1886, No. 47;  Sale Stockholm, Bukowskis, June 1, 2006, No. 1290; Stockholm, private collection

Exhibited: London, The British Institution 1828, No. 96; London, The British Institution 1855, No. 94; Manchester, Exhibition of the art treasures of the United Kingdom 1857, No. 911

Literature:CATALOGUS VAN HET UITMUNTEND KABINET SCHILDERYEN, PRENTEN, BEELDEN, ENZ. Door geheel EUROPA beroemd, en in veele Jaaren byeenverzameld DOOR DEN HEERE GERRIT BRAAMCAMP. (Auction catalogue) Amsterdam 1771, p.3, no. 5 (as ‘De Y-stroom met de Stad Amsterdam en verscheidene Koopvaardy-scheepen in ’t verschiet; op den Voorgrond ziet men het Stads Jacht in een woelend water zeilen. Dit alles is door een sterk Licht natuurlijk gedaagd, en het Water overtreft in Koleur en Kunst alles wat deeze Meester ooit gemaakt heeft’).

De Kunstverzameling nagelaten door de Heer PIETER CALKOEN WILLEMSZ, te Amsterdam 1781, no. 2, (Auction catalogue).( as ‘Ce Tableau represente la Vue de l’Y. On y remarque, a l’horizon, des Vaisseaux Marchands, devant la ville d’Amsterdam. Sur le devant, on distingue une Eau agitée, agréablement éclairée par un beau Soleil ; on y voit le Yacht des Etats, qui semble vouloir passer derriere un Vaisseau à trois Mâts, qui est à la Voile, & de plus differents autres Bâtiments. Ce Tableau produit un effet surprenant par l’harmonie qui y regne ; l’Eau y est representée d’un transparent admirable. Ce morceau surpasse tout ce qui est connu de ce Maitre’).

Catalogus van het Kabinet van Schilderijen, nagelaten door Den Hoog Edelen Gestrengen Heer Mr. Pieter de Smeth van Alphen. Groot Kruijs van de Koninklijke Orde des unie, Staatsraad van Zijne Majesteit den Koning van Holland, en Vroedschap van Amsterdam, (Auction catalogue) Amsterdam 1810, lot no. 4 (as ‘Een woelend Water; zijnde een Gezigt in het IJ, met een groot Jagt, bij den Wind zeilende, verder Oorlogschepen, andere Vaartuigen en de Stad Amsterdam in het verschiet [Vue sur le Port d’Amsterdam, le Fleuve l’IJ étant agité. On y distingue un Jacht voilant sous le vent ; plus en arriere se trouvent des Vaisseaux de guerre et d’autres Batiments ; la Ville d’Amsterdam se presentant dans la perspective]’).

Catalogus van het uitstekende kunstkabinet van kostbare schilderijen, teekeningen, prenten, beeldwerk, in marmer, ivoor, metaal, hout enz. schilderwerk in miniatuur en op glas; amaille, agaat, mosaiek, barnsteen, schildpad, en andere keurige en zeldzame rariteiten; alsmede fraaije penningen, munten, enz. alles bijeenverzameld door vrouwe Anna Maria Ebeling, in leven echtgenote van Jonkheer Iwan Hogguer, Burgemeester dezer stad enz. enz. (Auction catalogue) Amsterdam 1817, lot nr. 0002 (as ‘Dit kostbaar schilderij stelt voor een gezigt op de stad Amsterdam uit het Ij te zien; op den voorgrond is het woelende water gestoffeerd met het stads jagt, achterwaarts een zeilend oorlogschip en kleindere vaartuigen; ter regter zijde, digt voor en in de laag der stad, ziet men nog meerder schepen. Het water is dun, en de golving allernatuurlijkst voorgesteld, zijnde een der kapitaalste stukken van dezen voorbeeldeloozen zeeschilder’).

Collection Christiaan Josi, (Auction catalogue) London 1822, lot no. 63,(as ‘ View of the Port of Amsterdam; in front the State Yacht under orders, is seen on the tack, to loof alongside a Man of War under weigh in squally weather; a part of the Dockyard and City is seen in the distance. This capital Picture having successively adorned the renowned cabinets of Braamcamp, Burgomaster Calkoen, de Smeth, and lastly that of Hoguer, at Amsterdam, has been universally allowed by the best judges, as the happiest effort of the genius of the Master, who certainly never has produced a more striking effect of nature, nor has expressed the motion of his figures, and of the water, with such illusion as he has done in this piece, the excellence of which is equalled by its high state of preservation’).

British Institution for Promoting the Fine Arts in the United Kingdom : Catalogue of pictures by Italian, Spanish, Flemish, and Dutch masters : with which the proprietors have favoured the Institution, London 1828, p. 15, cat. no. 96

J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, vol. VI, London 1835, pp. 406-07, no. 6 (as ‘A view on the River Y, of Amsterdam, during the prevalence of a fresh gale, and the approach of rain. This capital picture exhibits, in the centre a royal yacht, with her richly carved and gilt stern towards the spectator, sailing under main and fore sails carrying an ensign at the stern, and the broad pennant and another flag at the mast-head: beyond it are a small pleasure boat and a ship of war, and at some distance off, on the left, are several vessels and small craft. The whole line of view is by the town and its environs. The date, 1696, is on a plank floating in front’).

Catalogue of the art treasures of the United Kingdom collected at Manchester in 1857, London 1857, p. 65, cat. no. 911

C. Hofstede de Groot, A Catalogue raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century: Based on the Work of John Smith, vol. 7, London 1923 (ed. Cambridge 1976), pp 239-40 (as ‘In rough weather. In the left center a royal yacht, with a boat in tow, sail away to the left; at her stern float the Dutch colours with a coat of arms. Far left, a half-hidden frigate. Another, with sails furled, lies at anchor in the right middle distance. There are other vessels. In the distance are the towers and houses of the city. Dark cloudy sky. A “capital picture”.’).

2018 – Ludolf Backhuysen – View of Amsterdam with Ships on the River IJ in the Middle the Elaborately Decorated City Yacht

LUDOLF BACKHUYSEN

(Emden 1630 – 1708 Amsterdam)

 The Dutch men-o-war ‘Ridderschap’ and ‘Hollandia’ (with broken mainmast and mizzen) in difficulties during a hurricane in the Straits of Gibraltar, 1-3 March 1694

Oil on canvas, 150 x 227 cm

Signed with initials on the barrel: l.b

Formerly Rob Kattenburg collection

Purchased by the Rijksmuseum, Amsterdam.

Provenance:…; collection E. Malling, 1917;{According to the catalogue for the sale, Amsterdam (Christie’s), 8 December 1983, no. 56.}…; sale, Abraham Cornelis Mees (1864-1950, Wassenaar), Amsterdam (Mak van Waay), 21 (22) January 1947 sqq., no. 1557, fl. 2,600;{Copy RKD.}…; sale, Amsterdam (Christie’s), 8 December 1983, no. 56;…; the dealer Rob Kattenburg, Amsterdam, 1984;{Delft 1984, p. 22.} from whom on loan to the museum, 1987 (inv. no. SK-C-1619); from whom, fl. 275,000, to the museum, with support from the Vereniging Rembrandt, 1988.

Literature: All the paintings of the Rijksmuseum in Amsterdam: a completely illustrated catalogue: first supplement: 1976-91, p. 40. Ludolf Bakhuizen 1631-1708: schryfmeesterteyckenaar-schilder, Ben P.J. Broos, Roosannie Kromhout, Robert Vorstman, Willem L. van de Watering, p. 59, cat.nr. S33; Choice of acquisitions: [1988-3], p. 257, fig. 2. Mauritshuis and Rijksdienst Beeldende Kunst, ‘”A choice”: a small and personal selection by the guest curator mr. drs. L.C. Brinkman from the various acquisitions acquired for the National Collection during the last seven years’, The Hague 1989, folding sheet no. 20.

LUDOLF BACKHUYSEN

(Emden 1630 – 1708 Amsterdam)

The ‘Princes Maria’, first-rate ship of the line of the Amsterdam Admiralty, on the IJ off Durgerdam, flying the standard of Prince William III of Orange

Oil on canvas, 108.5 x 159 cm

Signed: l bak f

Provenance: European private collection

1987 – Ludolf Bakhuizen – The Princes Maria 1ste Rate Warship of the Amsterdam Admitalty on the IJ off Durgerdam flying the standard of Prince Willem of Orange

LUDOLF BACKHUYSEN

(Emden 1630 – 1708 Amsterdam)

The Dutch fleet with the ‘Delfland’, Flagship of Michiel Adriaensz. de Ruyter, off the coast of Texel, 18 August 1665

Oil on canvas, 126.4 x 163.2 cm

Signed: L. Back

Monogrammed: lb

Dated: 1671

Formerly Rob Kattenburg collection

Purchased by the Stiftung Ludolf Backhuysen Gesellschaft, on loan to the Ostfriesisches Landesmuseum, Emden (DE)

LUDOLF BACKHUYSEN

(Emden 1630 – 1708 Amsterdam)

An English Royal Yacht and two Dutch frigates with a family of fisherfolk on a promontory

Oil on mahogany panel, 47.5 x 61.7 cm

Signed and dated: L. Bakh 1691

Provenance: European private collection

LUDOLF BACKHUYSEN

(Emden 1630 – 1708 Amsterdam)

A yacht and other vessels on the river Eems off the port of Emden

Oil on canvas, 64.4 x 93 cm

Signed and dated: l. bakhuis 1698

Formerly Rob Kattenburg collection
Purchased by the Stiftung Johannes a Lasco Bibliothek, Emden (DE)

LUDOLF BACKHUYSEN

(Emden 1630 – 1708 Amsterdam)

The Koopvaardsrede, southeast off the coast of Texel

Oil on canvas, 55 x 68.5 cm

Signed and dated: L. Back 1661

Provenance: European private collection

2000, Ludolf Bakhuizen – The Koopvaardersrede on the southeast side of the island of Texel

LUDOLF BACKHUYSEN

(Emden 1630 – 1708 Amsterdam)

Christ in the Storm on Lake Galilee

Oil on canvas, 119.5 x 174.5 cm

Signed lower left, on the ship: L.Bakhuizen

Dated on a piece of driftwood lower center: 1704

Provenance: Joan Frederik Motte; sale, Quickhart, Amsterdam, 20 August 1794, lot 2 (unsold 290 florins). Santhagen; sale De Vries, Amsterdam, 4 April 1754, lot 2 (unsold 2.800 florins). Meffre; sale [Dr. van Cleef and others], Pillet, 4 April 1864, lot 4 (unsold, 11.900 francs). Charles August Louis, Joseph, Duc de Morney; sale, Pillet, Paris, 31 May 1865, lot 38 (sold 2.150 francs). Sale London, Christies, 7 July 2000 (146.750 pounds sterling), Rob Noortman & Salomon Lilian, Netherlands, private collection.

Literature: Hofstede de Groot, A Catalogue Raisonné, etc., VII, London, 1923, p.215 no. 9. ‘Christ in the Storm on the Lake of Tiberias: A masterpiece’ and p.215 in the edition of 1976, XXVI no. 9.; de Beer, E-Y. Goossens, B. van de Roemer, exhib. cat. Backhuysen aan het roer !, Zeeschilder 1630-1708/ Backhuysen at the Helm ! Marine Painter 1630/ 1708, Amsterdam, (Royal Palace) 2004.

Exhibitioned: Backhuysen aan het roer!, Zeeschilder 1630-1708/ Backhuysen at the Helm ! Marine Painter 1630/ 1708, exh. Royal Palace Amsterdam 2004, no.73, cat.nr. 19.

Purchased by the Gerhard ten Doornkaar Koolman-Stiftung, Emden (Germany)

LUDOLF BACKHUYSEN

(Emden 1630 – Amsterdam 1708)

Three Masters off the Coast.  On the shore fishermen pulling a small boak to shore.

Oil on canvas, 54 x 69 cm

Signed and dated lower left in the centre: L. Bakh / 1697.

On the stretcher old adhesive label.

Provenance: William Rome Collection, England; Collection G. von Mallmann, Berlin, since 1907; Auktion Berlin 06.12.1918, lot 141 with ill.; Private collection, Germany.

Literature: C. Hofstede de Groot: A Catalogue Raisonné of the works of  The Most Eminent Dutch Painters of the Seventeenth Century. London 1923, Vol. VII, p. 259, no. 184.

The painting is registered in the databank of the RKD, The Hague, under the ill. no. 34248.

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – Westminster 1707)

A Kaag at Sea in a Fresh Breeze, Shipping on the Roadstead of Texel

Oil on canvas, 130 x 188 cm

Signed: W.V.Velde (lower left on the driftwood)

Dated: ca. 1670

Provenance: Sales. – Philip’s auction. Thos Agnew & Sons, London. Matthews, London 1935.It was sold back from Mathew’s widow to Thos Agnew & Sons, London in 1957 as Van de Velde and sold to an Italian Dealer, Gennaro as Backhuysen. Private collection, Italy.

Literature: M.S. Robinson, The paintings of the Willem van de Veldes, Greenwich 1990, Vol II, p. 830, cat. no. 63.2. A. Hoving, A kaag at sea in a fresh breeze. Scheepshistorie 29.

References: Sydney W. Newberry, London, negative no. N70688.

Brochure 2021, Willem van de Velde II, A kaag in a stiff breeze

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – 1707 London)

 A Dutch ‘visserspink’ at anchor in a moderate breeze

 Oil on canvas, 43 x 44.5 cm

Provenance: European private collection

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – 1707 London)

A Dutch ‘visserspink’ at anchor in a moderate breeze

Oil on canvas, 43 x 44.5 cm

Provenance: European private collection

WILLEM VAN DE VELDE THE YOUNGER

A States Yacht of the Admiralty of Amsterdam before a moderate breeze meeting a Dutch Two-decker

Oil on canvas, 51 x 66 cm

Signed and dated: W.V.Velde de jonge 1654

Provenance: Sale X. de Burtin, Brussels, 21 July 1819, lot 185; Sale Christie’s, Mrs. Hibbert, 22 July 1820, lot 139; Sale Christie’s, C.J Nieuwenhuys, 23 June 1873, lot 86; Sale Christie’s, to Rutley for Edward Dent, 17 July 1886, lot 110; United Kingdom, private collection.

Exhibition: London, Maritime Museum, The Art of the Van de Veldes, 23 June to 5 December 1982, No.19.

Literature: Hofstede de Groot, Holländischen Maler des XVII. Jahrhunderts, Esslingen am Neckar 1907-1928 VII, no. 146; National Maritime Museum, The Art of the Van de Veldes, London 1982, p. 36, 68, fig. IV. M.S. Robinson, The paintings of the Willem van de Veldes, The Hague 1990, no.55, pp. 764-765; H.P. Baard, Willem van de Velde de Oude, Willem van de Velde de Jonge, Amsterdam n.d. [1942].

One of the earliest signed and dated works by Willem van de Velde the Younger

1992 – Willem van de Velde the Younger – A States Yacht of the Admiralty of Amsterdam before a moderate breeze meeting a Dutch Two-decker

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – 1707 London)

The Dutch Fleet at Anchor in Texel Roads

 Oil on canvas, 43 x 52.5 cm

Monogrammed on the boat lower left: W.V.V.

Provenance: Sale jhr. Leonard Pieter Klerk de Reus (1783 – 1860), 1845 no. 31; Vienna, Baron Anselm von Rothschild (1803 – 1874); Vienna, Baron Nathaniel von Rothschild (1836 – 1905); Vienna, Alphonse von Rothschild (1878 – 1942); London, private collection.

Literature: Hofstede de Groot, C., A catalogue raisonné…, vol. VII, Londen 1923, p. 141, no. 574; Robinson, M.S. Van de Velde. A catalogue of the paintings of the Elder and Younger Willem van de Velde, Londen: 1990, Vol. II, pp. 817-18, no. 571, met ill.; Lillie, S. Was einmal war. Handbuch der enteignungeten Louis’brother Kunstsammlungen Wiens, Wenen 2003, p. 1031, no. 852.

2008 – Willem van de Velde the Younger – The Dutch Fleet at Anchor in Texel Roads

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – 1707 London)

The Dutch fleet assembling before the Four Days’ Battle of 11-14 June 1666,  with the ‘Liefde’ and the ‘Gouden Leeuwen’ in the foreground

Signed and dated: W.V.Velde 1670 (lower left, on the floating board)
Oil on canvas, 133.3 x 203.2 cm.

Provenance: Scotland, 1771, collection of the Earl of Wemyss and March, Amisfield HouseScotland, 1881 collection of the Earl of Wemyss and March, Amisfield House:  Scotland, 1854; The collection of the Earl of Wemyss and March, Amisfield House;  Scotland, before 1830, The collection of the Earl of Wemyss and March was transferred to Gosford House, Longniddry, East Lothian, Scotland, 1893, Gosford House, Longniddry, East Lothian

Literature:  Catalogue of Pictures at Amisfield House, 1771, no. 8. (manuscript catalogue); Catalogue of Pictures at Amisfield House, 1771, no. 8, (catalogue printed in 1792);  (Probably) Catalogue of Pictures at Amisfield House, c. 1801, V&A Museum, London, MS86EE65 (as “8 Vanderveldt A sea piece H. 5-5 W. 6-8”); Catalogue of Pictures at Amisfield House, 1810, no. 8; J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, London, 1835, vol. VI, p. 338, no. 63; G.F. Waagen, Galleries and Cabinets of Art, London, 1857, vol. IV, p. 438 (as “A slightly agitated sea. On the right, in the shadow of a cloud, is a two-masted vessel; on the left, in the middle-distance, a three-masted vessel in sail. On the right are more vessels and dark clouds. A large picture of peaceful effect and very careful execution”);  Catalogue of Pictures at Gosford House, 1888, no. 44.                                                                        C.P. Hofstede de Groot, Oud Holland, vol. 11, 1893, p. 218; Ibidem,  p. 220 (as “Schepen in den storm”); C.P. Hofstede de Groot, A Catalogue Raisonné  of the Works of the Most Eminent Dutch, Flemish, and French Painters, based on the work of J. Smith, London, 1923, vol. VII, p. 110, no. 437; Catalogue of Pictures at Gosford House, 1948, no. 198; M.S. Robinson, Van de Velde: A catalogue of the Paintings of the Elder and the Younger Willem van de Velde, Greenwich, 1990, vol. II, pp. 741-42, no. 255; M.S. Robinson, The Paintings of the Willem van de Veldes, vol. 2 pp. 741, no. 255; R. Daalder, Van de Velde & Son, marine painters. The firm of Willem van de Velde the Elder and Willem van de Velde the Younger, 1640-1707, Leiden 2016.

Exhibited: London, The Royal Academy, Works by the Old Masters, 1889, no. 115. (no. 8)

Pdf Brochure,The painting of The Battle of Texel, by Willem van de Velde the Younger

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – Westminster 1707)

The Battle of Texel (Slag bij Kijkduin) on the 21st of August 1673 with the English Vice-Admiral Sir John Harman on the ‘London’ and The Dutch Vice-admiral Johan de Liefde on the ‘Vrijheid’

Oil on canvas, 111 x 138 cm

Signed: W. V. V.

Dated: ca. 1675

Provenance: Likely commissioned by Sir John Harman. Believed to have been bought by James Christie (1730-1803) and by descent through the family until offered; Sale, Christie’s, London, 14 November 1997, lot 64, Private collection, Great Britain.

Exhibited: Norwich, Castle Museum, Norfolk Maritime History, 1957, no. 2 as Battle of Solebay, May 28, 1672. The painting was in the collection of James Christie in 1957 when it was lent to the exhibition. Illustrated on page 91 of the catalogue.

Literature: J. Luiken, B. Stopendael, T. Doesburgh, T. ten Hoorn and J.van Beverwijk, Leven en bedryf Van den vermaarden Zeeheld Cornelis Tromp, Graaf van Sylliesburg, Ridder van de Olifant, Baronnet, &c. Lieutenant Admiraal Generaal van Holland en Westvrieslandt. Amsterdam 1692, pp. 419-422, 438, pp. 444-454; G. Brandt, Het leven en bedryf van den heere Michiel de Ruiter, Hertog, Ridder, &c. L. Admiraal Generaal van Hollandt en Westvrieslandt, Amsterdam 1787, pp. 438, pp. 776-777; J.C. De Jonge, Geschiedenis van het Nederlandsche Zeewezen, Haarlem 1859, Vol. II, pp. 203-229; M.S. Robinson,Van de Velde drawings. A catalogue of drawings in the National Maritime Museum made by the Elder and the Younger Willem van de Velde, Cambridge 1973, Vol. I pp. 148, 306; M.S. Robinson and R.E.J. Weber, The Willem van Velde drawings in the Boymans-van Beuningen Museum, Rotterdam 1979, Vol. I p.117, Vol. III, p. 238; M.S. Robinson, Van de Velde: a catalogue of the paintings of the Elder and Younger van de Velde, London 1990, pp. 221-223.

Brochure,The painting of The Battle of Texel, by Willem van de Velde the Younger

 

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – 1707 London)

The Dutch Fleet at Anchor in Texel Roads

Oil on canvas, 43 x 52.5 cm

Monogrammed on the boat lower left: W.V.V.

Provenance: Sale jhr. Leonard Pieter Klerk de Reus (1783 – 1860), 1845 no. 31; Vienna, Baron Anselm von Rothschild (1803 – 1874); Vienna, Baron Nathaniel von Rothschild (1836 – 1905); Vienna, Alphonse von Rothschild (1878 – 1942); United Kingdom, private collection London.

Literature: Hofstede de Groot, C., A catalogue raisonné…, vol. VII, Londen 1923, p. 141, no. 574; Robinson, M.S. Van de Velde. A catalogue of the paintings of the Elder and Younger Willem van de Velde, Londen: 1990, Vol. II, pp. 817-18, no. 571, met ill.; Lillie, S. Was einmal war. Handbuch der enteignungeten Louis’brother Kunstsammlungen Wiens, Wenen 2003, p. 1031, no. 852.

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – Westminster 1707)

 A Kaag at Sea in a Fresh Breeze, Shipping on the Roadstead of Texel

Oil on canvas, 130 x 188 cm

Signed: W.V.Velde (lower left on the driftwood)

Dated: ca. 1670

Provenance: Sales. – Philip’s auction. Thos Agnew & Sons, London. Matthews, London 1935.It was sold back from Mathew’s widow to Thos Agnew & Sons, London in 1957 as Van de Velde and sold to an Italian Dealer, Gennaro as Backhuysen. Private collection, Italy.

Literature: M.S. Robinson, The paintings of the Willem van de Veldes, Greenwich 1990, Vol II, p. 830, cat. no. 63.2. A. Hoving, A kaag at sea in a fresh breeze. Scheepshistorie 29.

References: Sydney W. Newberry, London, negative no. N70688.

LIEVE PIETERSZ. VERSCHUIER

(Rotterdam ca. 1634 – 1686)

The ‘Zeven Provinciën’ (1643-1659), 42-gun two-decker of the Amsterdam Admiralty on the Nieuwe Maas at the entrance to the Old Harbour of Rotterdam

Oil on canvas, 100 x 155 cm

Signed on sloop lower right: L.Verschuier

Provenance: European private collection

LIEVE PIETERSZ. VERSCHUIER

(Rotterdam ca. 1634 – 1686)

The ‘Zeven Provinciën’ (1643-1659), 42-gun two-decker of the Amsterdam Admiralty on the Nieuwe Maas at the entrance to the Old Harbour of Rotterdam

Oil on canvas, 100 x 155 cm

Signed on sloop lower right: L.Verschuier

Provenance: United Kingdom, private collection

Literature: Piet Dekker and Rudolphine Eggink, De walvisvaarder Prins Willem op de Nieuwe Maas bij Rotterdam. Fen schilderij door Lieve Pietersz. Verschuier. Amsterdam 1989

1989 – Lieve Pietersz Verschuier – De walvisvaarder Prins Willem op de Nieuwe Maas bij Rotterdam

LIEVE PIETERSZ. VERSCHUIER

(Rotterdam ca. 1634 – 1686)

Reception of distinguished visitors in the Old Main Gate in Rotterdam

Oil on panel, 46.9 x 99 cm

Formerly Rob Kattenburg collection

Acquired by the Maritime Museum Rotterdam

LIEVE PIETERSZ. VERSCHUIER

(Rotterdam ca. 1634 – 1686)

The whaler ‘Prins Willem’ on the Nieuwe Maas near Rotterdam

Oil on canvas, 95 x 140 cm

Signed: L. Verschuier

Provenance: United Kingdom, private collection

Literature: Piet Dekker and Rudolphine Eggink, De walvisvaarder Prins Willem op de Nieuwe Maas bij Rotterdam. Een schilderij door Lieve Pietersz. Verschuier. Amsterdam 1989

1989 – Lieve Pietersz Verschuier – De walvisvaarder Prins Willem op de Nieuwe Maas bij Rotterdam

 

ABRAHAM BEERSTRATEN

(Amsterdam 1643 – after 1665)

A winter scene on the Amsterdam IJ, near the Haringpakkerstoren

Oil on canvas, 92 x 126.5 cm

Signed and dated: A. Beerstraten 1666

Provenance: European private collection

ABRAHAM STORCK

(Amsterdam 1644 – 1708)

Shipping on the river IJ with a view on the eastern part of the city of Amsterdam

Oil on canvas, 49.5 x 62 cm

Signed: A: STORCK

Provenance: European private collection

ABRAHAM STORCK

(Amsterdam 1644 – 1710)

Two harbour views

Pendants, oil on canvas, 53.5 x 70.5 cm

Signed resp. lower left and lower right: A. Storck. fecit.

Provenance: European private collection

ABRAHAM STORCK

(Amsterdam 1644 – 1710)

Shipping on the IJ off Amsterdam

Oil on canvas, 89 x 130 cm

Signed and dated lower right.: A. Storck fecit 1691

Formerly Rob Kattenburg collection

Purchased by the Werkspoormuseum, Amsterdam

ABRAHAM STORCK

(Amsterdam 1644 – 1710)

The Battle of Kijkduin, 21 August 1673

Oil on canvas, 100 x 134 cm

Signed on driftwood lower center.: A. Storck fecit

Provenance: European private collection

2012, Abraham Storck – The battle of Kijkduin – The battle of the Texel 21th August 1673

JAN CLAESZ RIETSCHOOF

(1652 – Hoorn – 1719)

The newly finished man-o-war the ‘Beschermer’ off the port of Hoorn

Oil on canvas, 152 x 225 cm

Dated: 1689

Provenance: Netherlands, E. Moll de Oudere, Veiling Frederik Muller, Amsterdam 15th December 1908, Lot 3 (as Ludolf Backhuysen).

Literature: C. Hofstede de Groot, A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century, Based on the Work of John Smit, Volume VII, p. 246, nr. 138 London 1923; R.C. Anderson, ‘Dutch Three-Deckers’, in: Mariners Mirror, 1929, Volume V, pp. 11-12; Dr. Gerlinde de Beer, Ludolf Backhuysen, Sein Leben und Werk, Zwolle 2002, p. 206, fig.268.

2000, Jan Claesz Rietschoof – The newly finished man-o-war the Beschermer off the port of Hoorn

JAN CLAESZ. RIETSCHOOF

(Hoorn 1652 – 1719)

Shipping of the Hoorn Harbour

Oil on canvas, 75.5 x 102.5 cm

Signed with initials: cr

Formerly Rob Kattenburg collection

Purchased by the Westfries Museum, Hoorn

JAN CLAESZ. RIETSCHOOF

(1652 – Hoorn – 1719)

The newly finished man-o-war the ‘Beschermer’ off the port of Hoorn

Oil on canvas, 152 x 225 cm

Dated: 1689

Provenance:

E. Moll de Oudere, Veiling Frederik Muller, Amsterdam 15th December 1908, Lot 3 (as Ludolf Backhuysen)

 Literature:

C. Hofstede de Groot, A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century, Based on the Work of John Smit, Volume VII, p. 246, nr. 138 London 1923.
R.C. Anderson, ‘Dutch Three-Deckers’, in: Mariners Mirror, 1929, Volume V, pp. 11-12.
Dr. Gerlinde de Beer, Ludolf Backhuysen, Sein Leben und Werk, Zwolle 2002, p. 206, fig.268.

ADRIAEN (VAN DER) SALM

(Delfshaven ca. 1660 – 1720)

Armed Dutch three-masters in choppy seas

Pen painting op panel, 37 x 48 cm

Signed on driftwood lower right: A. Salm

Provenance: European private collection

ADRIAEN (VAN DER) SALM

(Delfshaven ca. 1660 – 1720)

Armed Dutch three-masters in choppy seas

Pen painting op panel, 37 x 48 cm

Signed on driftwood lower right: A. Salm

Provenance: European private collection

CORNELISZ BOUWMEESTER

(1670 – Rotterdam – 1733)

A Company-Yacht and other Vessels off Delfshaven

Pen painting on panel, 35 x 47.5 cm

Monogrammed: CMB

Provenance: European private collection

DAVID KLEYNE

(Bergen op Zoom  1753 – 1805  Middelburg)

Shipping off Veere
Shipping off Fort Rammekens

Pendants, oil on panel, 44.5 x 54 cm
Signed on driftwood in second panel: D. Kleyne

Formerly Rob Kattenburg collection

Purchased by the Zeeuws Museum, Middelburg

The coat of arms on the stern of the transom yacht on the left identifies it as a vessel of the Zeeland chamber of the Dutch East India Company. In the foreground are a brig and a poon.

On the right an ornate transom yacht, on the left a poon.

DAVID KLEYNE

(Bergen op Zoom  1753 – 1805  Middelburg)

Shipping off Veere
Shipping off Fort Rammekens

Pendants, oil on panel, 44.5 x 54 cm
Signed on driftwood in second panel: D. Kleyne

Formerly Rob Kattenburg collection

Provenance: European private collection

Purchased by the Zeeuws Museum, Middelburg

The coat of arms on the stern of the transom yacht on the left identifies it as a vessel of the Zeeland chamber of the Dutch East India Company. In the foreground are a brig and a poon.

On the right an ornate transom yacht, on the left a poon.

DAVID KLEYNE

(Bergen op Zoom  1753 – 1805  Middelburg)

Arrival of the 131st demi-brigade ‘de Bataille’ at Flushing

Oil on panel, 38 x 45 cm
Signed on driftwood lower right: D. Kleijne Fe.

Formerly Rob Kattenburg collection

Purchased by the National Maritime Museum, Amsterdam

NICOLAAS BAUR

(Harlingen 1767 – 1820)

Fishing vessels at the beach of Scheveningen

Oil on panel, 55.5 x 79.5 cm

Signed right below: N. BAUR

Provenance: Netherlands, private collection

Exhibited: Amsterdam, Tentoonstelling Levende Meesters, 1814.

Literature: Woelend water, leven en werk van de zeeschilder Nicolaas Baur (1767- 1820), exhib.cat. Gemeentemuseum Het Hannemahuis Harlingen, 1993. See nr. 56 A washed pen painting” Vissers voor de kust bij Scheveningen.”

Baur was the leading Marine painter of the Netherlands in the 1rst quarter of the 19th century

 

HERMANUS KOEKKOEK I

(Veere 1778- 1851 Amsterdam)

Beach scene

Oil on panel, 38 x 53.5 cm

Signed and dated lower left: H. Koekkoek, 1851

Provenance: European private collection

JOHANNES HERMANUS KOEKKOEK

(Veere 1778- 1851 Amsterdam)

Shipping off a rocky coast

Oil on canvas, 42.5 x 61.5 cm

Signed and dated in repoussoir: J.H. Koekkoek 1811

JOHANNES CHRISTIAAN SCHOTEL

(Dordrecht  1787 – 1838)

Coastal view

Oil on canvas, 72 x 95 cm

Signed lower left: J.C. Schotel

Provenance: European private colletion

 

JOHANNES CHRISTIAAN SCHOTEL

(Dordrecht  1787 – 1838)

Heavy weather off Vlieland’s coast

Oil on canvas, 164 x 215 cm

Signed lower left: J.C. Schotel

Provenance: European private collection

JOHANNES CHRISTIAAN SCHOTEL

(Dordrecht  1787 – 1838)

Coastal view

Oil on canvas, 65.5 x 87.5 cm

Signed lower left: J.C. Schotel

Provenance: European private collection

JOHANNES CHRISTIAAN SCHOTEL

(Dordrecht  1787 – 1838)

A yacht, a man-of-war and other ships

Oil on panel, 68 x 96 cm

Signed on vessel in foreground: J.C. Schotel

JOHANNES CHRISTIAAN SCHOTEL

(Dordrecht  1787 – 1838)

A frigate at open sea

Oil on panel, 26.5 x 37.5 cm

Signed lower right: J.C. Schotel. f.

JOHANNES CHRISTIAAN SCHOTEL

(Dordrecht 1787 – 1838)

 A States Yacht with a Man of War in the Background, off the Port of Vlissingen

Oil on panel, 67.5 x 97.5 cm.

Signed on the barge:  J.C. Schotel

Provenance: Netherlands, private collection

Bekijk hier de bijbehorende Publicatie

PETRUS JOHANNES SCHOTEL

(Dordrecht 1808 – 1868 Dresden)

Commencement of the Four Days’ Battle, 11 June 1666

Oil on canvas, 46.5 x 63.5 cm

Signed lower right: P.J. Schotel

Provenance: European private collection

LOUIS MEIJER

(Amsterdam 1809 – 1866 Utrecht)

Turbulent Sea with Sailing Ships

Oil on canvas, 82 x 114 cm

Signed lower left: Louis Meyer

Provenance: European private collection          

FRANÇOIS CARLEBUR

(Dordrecht 1821 – 1893)

The Kaiyō-maru in open sea

Oil on panel, 87.4 x 120 cm

Signed lower left: F. Carlebur

Provenance: Heirs silent partner Dordt shipyard of C. Gips and Sons, builders of the Kaiyō-maru

1997 – Kaiyo-Maru

HENDRIK WILLEM MESDAG

(Groningen 1831 -1915 Den Haag)

Calm

Oil on canvas, 180 x 141 cm

Signed and dated lower right: H W Mesdag 1896

Provenance: Anonymous sale, Christie’s, London, 11 December 1979, lot 308; Formerly Rob Kattenburg collection.

HENDRIK WILLEM MESDAG

(Groningen 1831 -1915 The Hague)

Storm

Oil on canvas, 95 x 155 cm

Signed lower right: H W Mesdag

Provenance: European private collection

HENDRIK WILLEM MESDAG

(Groningen 1831 -1915 The Hague)

Evening mood

Oil on canvas, 49 x 60 cm

Signed middle right: H W Mesdag

Provenance: European private collection

HENDRIK WILLEM MESDAG

(Groningen 1831 -1915 Den Haag)

The Scheveningen Fishing Fleet putting to sea in heavy weather

Oil on canvas, 100 x 157.5 cm.

Signed and dated: H W Mesdag 1875

Provenance: Mesdag family, private collection

Museums: Many important museums at home and abroad

The painting that Mesdag never wished to sell

An Impressionist masterwork of international allure re-discovered

RK_Mesdag

HENDRIK WILLEM MESDAG

(Groningen 1831 – 1915 The Hague)

Incoming ‘Bomschuiten’ from Scheveningen

Acquarel, 74 x 52 cm

Signed lower right: H.W. MESDAG

Provenance: Netherlands, private collection

Cf.: version in oil, literature: Poort, J., ‘Willem Mesdag (1831- 1915) Oeuvre catalog’, Wassenaar, 1989, p. 311, cat. no. 13.10.

HENDRIK WILLEM MESDAG

(Groningen 1831-1915 The Hague)

Fishing boats off Anchor (Scheveningen), ca. 1878

Oil on canvas, 60 x 130 cm

Signed lower right: H.W. MESDAG

Provenance: Possibly London, collection Sir John C.F.S. Day; sale December 10, 1887, lot 152 as “Fishing-boats at Anchor”; Brooklyn, New York, collection George I. Seney; sale February 8, 1894, lot 180 as ‘The Fishing Fleet’ ($1025.00) to John G. McCullough; by inheritance to the Historic Park-McCullough Association, North Bennington, Vermont (until 2012).

2012 – Hendrik Willem Mesdag – Vissersboten voor Anker – Scheveningen – ca 1878

 

Drawings

ATTRIBUTED TO MICHIEL COXIE

(Mechelen 1499 -1592)

Cardboard carpet design for ”The landing of Scipio Africanus near Carthage”, ca. 1555

Gouache on paper, 248 x 257 cm

Literature: Hartkamp-Jonxis, A painted pattern for a tapestry depicting the Landing of Scipio on the Coast of Africa from the mid-16th century, in: Bulletin of the Rijksmuseum 56 (2008), pp. 82-101

Formerly Rob Kattenburg collection

Purchased by the Rijksmuseum, Amsterdam

HENDRICK CORNELISZ. VROOM

(Haarlem  1566 – 1640)

Shipping off the shore 

Pen in brown, 17 x 28.5 cm

Provenance: European private collection

JAN VAN GOYEN

(Leiden 1596 – 1656 The Hague)
River Scene
Black chalk and grey wash, 17 x 27 cm
Monogrammed and dated lower left: vg 1653
Provenance: European private collection
Steep wooded bank where fishing boats moor. In front right a farm cart. In the center, two figures sit on the bank. In the background a castle.

WILLEM VAN DE VELDE THE ELDER

(Leiden 1611 – 1693 London)

Dutch ships off the coast with men fishing from a jetty in the foreground, c. 1653

Black chalk, on three joined sheets of paper, the main sheet with the watermark IHS  with a cross, 281 x 548 mm

Provenance: Anonymous sale, Christie’s, London, 11 December 1979, lot 308;  Netherlands, private collection

Collector’s mark ‘B’ (verso)

WILLEM VAN DE VELDE THE ELDER

(Leiden 1611 – 1693 London)

The Dutch Fleet at sea  

Graphite and grey wash, 130 x 510 mm

Inscription in pen and brown ink lower right: Vandervelde

Provenance: The 12th Duke of Northumberland

The late Michael Robinson suggested that this spontaneous study of Dutch shipping of all types should be dated circa 1665.

It is not known how the drawing from a series of drawings by the Van de Veldes came to be in the collection of the Dukes of Northumberland, but is seems most likely that the drawings were acquired by that remarkable figure, Elizabeth, 1st Duchess of  Northumberland (1716-1776), who was one of the most important female collectors of the 18th century.

 

WILLEM VAN DE VELDE THE ELDER

(Leiden 1611 – 1693 London)

The Dutch Fleet under Van Wassenaer Obdam on its way to the Sound, trying to beat around ‘The Skaw’, 20 October 1658, right in the foreground the ‘Eendracht’

Black chalk, washed in grey on three conjoined sheets:  305 x 810 mm

Inscribed by Willem van de Velde I (upper right): Inde Noortzee op Sondag den 20 oct / 1658 smorgens mooij weer eer wij / bij Schagen quamen.

(In the North Sea in the morning with good weather we came near Schagen on Sunday 20 October 1658).

Provenance: Netherlands, private collection

Literature, cf.: G.L. Grove [ed.], Journalen van de Admiralen Van Wassenaer-Obdam (1658/59) en De Ruyter (1659/60), Amsterdam 1907, p. 13, pp. 154-155, 227.

Extensive information available.

WILLEM VAN DE VELDE THE ELDER

(Leiden  1611 – 1693  London)

May 28 – June 7, 1672. The Dutch fleet at sea prior to the Battle of Solebay

Black chalck, grey wash on paper, correction in pen and brown ink by the artist, 24.7 x 43.3 cm

Provenance: European private collection

WILLEM VAN DE VELDE THE ELDER

(Leiden  1611 – 1693  London)

The Dutch fleet off Goedereede, ca. 1664

Black chalck, grey wash on paper, 17.8 x 30 cm

Formerly Rob Kattenburg collection

Purchased by the Boijmans van Beuningen Museum, Rotterdam

WILLEM VAN DE VELDE THE ELDER

(Leiden 1611 – 1693 London)

The Watte Convoyer (wadconvooier) ‘Valck’ accompanies a small fleet of Wijdtschepen (wijdschepen) to the port of West Terschelling. In the distance ‘Brandaris’, the oldest lighthouse on the Wadden Islands, built in 1594

Pen paining (goose quill) and brown ink on an ivory-coloured prepared tafelet, 20.6 x 30.3 cm
Signed l.r. … V.Velde                                                                                                                                                                                    

Ca. 1645

Literature: Leeflang & G. Luijten, exhib. cat. Hendrick Goltzius (1558-1617), Drawings, Prints and Paintings, Rijksmuseum, Amsterdam, The Metropolitan Museum of Art, New York, The Toledo Museum of Art, Toledo (Ohio) USA p.72, nos. 20 and 21, p. 74, nos. 23 and 24.

2008 – Willem van de Velde the Elder – The Watte Convoÿer (wadconvooier) ‘Valck’ accompanies a small fleet of Wijdtschepen (wijdschepen) to the port of West Terschelling

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – Westminster 1707)

Design for the artist’s yacht, c. 1687

Pen and brown ink, 41.8 x 29.8 cm

Monogrammed lower right: w.v.v.j., and in pennant at the stern: wvv

With the following annotation by the artist: ‘orte by ginck houd te beterwese’ and ‘binne soo dick als buyte de kiel en breeder als hogh/de kiel gaene ofte planck naeste d kiel dick vol 2 duijm oftemer(?) en breet’. These notes provide information on the thickness and shape of the keel.

Watermark: Coat of Arms of Genoa (Robinson No 48 but with the letter Z in the lower circle).

The watermark suggests a date around 1687.

Provenance: European private collection

Literature: M. Robinson, 1, pg; 91, no. 517-526. Van de Velde drawings in the National Maritime Museum.
He writes of this drawing: ‘A drawing in the collection of D. G. van Beuningen at Vierhouten has an Italian watermark not usually found in England before 1680. It is possible that Van de Velde planned originally to build a yacht while he was with the Dutch and he revived his scheme when he came to England. It is unlikely that she was ever built as designed because she cannot be recognized in any paintings and drawings. There is, however, a Boeier yacht shown in a painting in the National Gallery (978) having the monogram WVV in the pendant at the stern as in the drawing at Vierhouten.’

Note: By indicating the monogram WVV in the pennant, it will certainly have been W. van de Velde’s intention to have the yacht built for his own use.

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – Westminster 1707)

Portrait of the English yacht ‘Portsmouth’

Brush, grey wash on paper, 28.3 x 49.2 cm

c. 1670

Provenance: United Kingdom, private collection

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – Westminster 1707)

Portrait of the ‘Eendracht’

Brush and grey ink, 35.2 x 57.8 cm

Provenance: European private collection

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – Westminster 1707)

Ships at anchor

Pencil and grey wash, and some highlights in pen in grey, 185 x 408 mm

Provenance: Netherlands, private collection

In the left foreground e.g. a kaegh (kaag)

The ships are partly rendered in grey ink and vertical dotted lines, indicating a method of drawing in perspective. The horizon is drawn at the eye level of Willem van de Velde and all objects in the picture space are crossed by the horizon at the same height from the ground.

Literature: M.S Robinson, Van de Velde drawings, a catalogue of drawings in the National Maritime Museum made by the Elder and the Younger Willem van de Velde, 2 vols., Cambridge 1973. vol. 1, p. 408 ill. No. 708; R. Reurs, ”Even if it is not architecture”: perspective drawings by Simon de Vlieger and Willem van de Velde the Younger* in: Simiolus 13, 1983, pp. 189-200.

Cf. The Art of the Van de Veldes. Paintings and drawings by the great Dutch marine artists and their English followers, exhib. cat, London, The National Maritime Museum 1982, p. 100, ill. 87.

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – 1707 London)

The ‘Britannia’ and other English and Dutch warships in combat at sea

Brown ink on paper, with small self-corrections in black ink by the artist, 18.7 x 30.4 cm

Signed with initials and dated lower right: W.V.V. f 1705

With collector’s stamp lower right: CR

Watermark: comp. nr. 1795 – 1676. Fly-leaves in SPEED’S Atlas. Old binding-Hodgeson

Provenance: European private collection

Literature: C f; M.S. Robinson, The English ship Brittania at sea in a moderate breeze with yachts saluting. Van de Velde. A catalogue of the paintings of the Elder and Younger Willem van de Velde. Vol. II pp. 948-951, London 1990.

 

WILLEM VAN DE VELDE THE YOUNGER

(Leiden 1633 – 1707 London)

Portrait of the yacht of John Maurice, Prince of Nassau-Siegen, 1670/1

Black chalck on paper, grey wash 295 x 404 mm

Provenance: France, Collection Auguste Normand, Le Havre; Netherlands, Amsterdam, with Douwes Fine Art, Amsterdam 1970; United Kingdom, with Leonard Koetser, London 1971; Netherlands, private collection

This drawing of this richly decorated yacht is masterfully rendered and can be dated around 1660.

Literature: Bert Thissen, Der Hof des Fürsten Johann Moritz von Nassau-Siegen in den Jahren 1669-1679, in: Gerhard Brunn ed., Feld war die Welt. Johann Moritz von Nassau-Siegen (1604-1679), Munster 2008, p. 247ff; E. van den Boogaart, Johan Maurits van Nassau-Siegen, 1604-1679. A humanist prince in Europe and Brazil, Den Haag 1979; Guido de Werd, Soweit der Erdkreiss reicht. Johann Moritz von Nassau-Siegen, Kleve 1979; M.S. Robinson, Van de Velde drawings. A catalogue of drawings in the National Maritime Museum made by the Elder and the Younger Willem van de Velde, 2 Vols., Cambridge 1974; G.C.E. Crone, De jachten der Oranjes. Historisch en scheepstechnisch overzicht van de jachten der stadhouders en vorsten van het huis van Oranje- Nassau vanaf het einde der 16de eeuw, Amsterdam 1937; C.G. ’t Hooft, Een geschenk van Amsterdam aan Karel II van Engeland in 1660, in: Jaarboek Amstelodamum 1921, Amsterdam 1921; Ludwig Driesen, Leben des Fürsten Johann Moritz von Nassau-Siegen, Berlin 1849; Nicolaes Witsen, Aeloude en hedendaegsche scheeps- bouw en bestier, Amsterdam 1671; Abraham de Wicquefort, Verhael in forma van Journael van de reijs ende ’t vertoeven van Carel II, The Hague 1660.

Extensive information available

PIETER IDSERTS NAMED PORTIER

(Franeker 1698 – 1781)

Shipping off Amsterdam near Durgerdam with the watchtower  ‘Hoek van ‘t Eij’ at the right

Pen and brush in grey, 315 x 541 mm

Signed with initials P.I. on the pennant of the large merchant ship.

Provenance: Netherlands, private collection

Collections: Vienna, Albertina; Amsterdam, Rijksprentenkabinet, Het Scheepvaartmuseum; City archive, Leiden, Museum Boerhaave; Leeuwarden, Fries Museum; Sneek, Fries Scheepvaartmuseum.

Prints & Books

FRANS HUYS after PIETER BRUEGHEL I

(Antwerp 1522 – 1562)

Three warships in a storm

Engraving, state I of II, 24.1 x 19.3 cm,
Signed in the plate lower left: f.h. bruegel and in the margin lower right: Cum.privileg                                                   Published by Hieronymus Cock (Hollstein III, p. 265 no. 105)

Literature: Muller 418 As(6). Van Bastelaer 105. De Ramaix, Lebeer 48; F.W.H. Hollstein, Dutch and Flemish Etchings Engravings and Woodcuts -.c. 1450-1700, Volume III, no. 105, pp. 262-264, with fig. (second state); Irene de Groot and Robert Vorstman, Sail Ships – Prints by the Dutch Masters from the Sixteenth to the Nineteenth Century, Published in collaboration with the Rijksprentenkabinet, Amsterdam, Maarssen 1980,No. 4, depicting second state; exhibit. cat. The kingdom of Neptune – Maritime prints around the Golden Age, Maritime Museum ‘Prins Hendrick’ Rotterdam 21.12.96-31.03.97, no. 4, p.16.

 

FRANS HUYS after PIETER BRUEGHEL I

(Antwerp 1522 – 1562   / probably Breda c. 1528 – 1569 Brussels)

Armed Four-Master 

Engraving, only state, 22.5 x 29.4 cm
Signed in the plate lower left: f.h. bruegel and in the margin lower left: Cum.privileg
Published by Hieronymus Cock (Hollstein III, p. 265 nr. 102).

FRANS HUYS after PIETER BRUEGHEL I

(Antwerp 1522 – 1562)

Armed three-master, in the sky Daedalus and Icarus

Engraving, state I of II, 24.1 x 19.3 cm
Signed in the plate lower left: f.h. bruegel and in the margin lower right: Cum.privileg. 
Edited by Hieronymus Cock (Hollstein III, p. 265 no. 101)

FRANS HUYS after PIETER BRUEGHEL I

(Antwerp 1522 – 1562)

Warship with the inscription ‘Die Scip 1564’.

Engraving, state I of II, 24.1 x 19.3 cm,

Edited by Hieronymus Cock (Hollstein III, p. 265 no. 98)

Literature:

F.W.H. Hollstein, Dutch and Flemish Etchings Engravings and Woodcuts -ca. 1450-1700, Vol. III, no. 98, pp. 262-264, with fig. (first state). Elly Bos and Maartje de Haan, The Empire of Neptune: Maritime Printmaking around the Golden Age, p. 14, cat. no. 2. Rotterdam 1996.

Irene de Groot and Robert Vorstman, Zeilschepen – Prenten van de Nederlandse meesters van de zestiende tot de negentiende eeuw, Published in cooperation with the Rijksprentenkabinet, Amsterdam, Maarssen 1980, no. 1, with image of this first state. Muller 418 As (8). Van Bastelaer 98. De Ramaix, Lebeer 41.                                                                                                                                                                                                                                       Laurens J. Bol, Die höllandische Marinemalerei des 17. Jahrhunderts, p. 5 with fig. Braunschweig 1973.

JOHANNES STRADANUS (JAN VAN DER STRAET)

(Bruges 1523 – 1605 Florence)

The Discovery of America

Americae Retectio

Four numbered plates, each c. 212 x 282 mm.
Engraved by Adriaen Collaert
First edition, complete set
State I/III (1)
State II/III (2 & 3)
State I/ II (4)

Published by Philips Galle, Antwerp, c. 1589
Re-issued in 1592 to commemorate the 100th anniversary of Columbus’ discovery of the New World

Provenance: Spain, Private collection

This is the frontispiece to a series of four plates showing the discovery of America after Stradanus (New Hollstein 342-345).

Literature: R.W.G. Vael [ed.], A dictionary of Books relating to America, from its discovery to the present time, New York 1934, pp.81-82; K. Kohut [ed.], Von der Weltkarte zum Kuriositättenkabinett. Amerika in deutchen Humanismus und Barock, Frankfurt am Main 1995, pp. 179-213; New Hollstein (Dutch & Flemish) 1199.II (The Collaert Dynasty); New Holstein (Dutch & Flemish) 342.III (Johannes Stradanus); Baroni Vannuci, Alessandra, Jan van der Straet, detto Giovanni Stradano, flandrus pictor et inventor, Milan 1997.

Formerly Rob Kattenburg collection

Purchased by the Metropotitan Museum of Art, New York

LUCAS JANSZOON WAGHENAER (VAN ENCHUIJSEN)

(Probably Enkhuizen 1533 or 1534 – 1606 Enkhuizen)

First map of Europe by L.J.Waghenaer, 1583

Generale Paschaerte van Europa soe verre die Zeecusten ende Navigatien streckende zijn, gepractizeert Doer Lucas Jansz Waghenaer vã Enchuuse /Met Prívilegíe tot 10 Jaren.

Engraving, 55.5 x 39.2 cm.

Signed: Joannes à Doetecum. F. and dated 1583

Literature: Dr. Ir. C. Koeman, Atlantes Neerlandici Vol. IV, Amsterdam, pp. 465- 467 and p. 472 K. 1A, 81. N. Israel, Theatrum Orbis Librorum, pp. 78- 84, illustration p. 81.

A beautiful and very rare contemporary coloured map, dated 1583.

HANS REM and WILLEM JANSZ. [BLAEU]

HANS REM, engraver

(Antwerp ca. 1567 – ca.1620 Amsterdam)

WILLEM JANSZ. [BLAEU], publisher

(Uitgeest or Alkmaar 1571 – 1638 Amsterdam)

The defeat of the Spanish fleet against a combined Dutch-English navy, 3 / 4 October 1602.  

Copper engraving in 3 sheets (540 x 410 mm each), State II / II

Johannes Remius | Inventor Andoverpianus | Cum gratia et Priuilegio. 

Amstelodami | Excudit Wilhel. Ianz: Sub Signo | Solarii deaurati 

Below: a Latin verse in 107 lines by Richardus Lubbaeus.

Bottom left: dedication in six lines to the States General and Prince Maurice by Hans Rem.

Mounted below the print: an anonymous and undocumented Dutch verse in 44 stanzas.

Watermark: Heawood 3195-3198

Provenance: Netherlands, The Hague, Meijer-Elten, 1962; Netherlands,  private Collection Wassenaar

CLAES JANSZ. VISSCHER AND PIETER JACOBSZ. BAST

(Amsterdam 1586 – 1652)                                                       (Antwerp  ca. 1570 – 1605 Leiden)

A View of Amsterdam from the north Bank of the IJ

Etching and engraving on four joined sheets of paper: 255 x 1120 mm

Monogrammed: lower left ‘CIV’ (in reverse) and ‘HA’ for Herman Allertsz Coster

Dated: 1611

Published: Amsterdam

Only 9 examples documented.

Provenance: France, private collection

Formerly Rob Kattenburg collection

Purchased by the Metropolitan Museum New York (USA)

Extremely rare panorama of Amsterdam, consisting of two central leaves by Pieter Bast published in 1599, which Claes Jansz. Visscher significantly altered and to which he added two more leaves, thus creating a panorama that in every respect celebrates the importance of Amsterdam (and The Netherlands) as the major trading center of the world.

Literature: F. Muller, Ned. Historieprenten IV, suppl. no. 1285c; R.W.P. de Vries, Amsterdamsche stadsgezichten, Amsterdam, 1913, cat.no. 4, pp. 7-8; C.P. Burger Jr., ‘Amsterdam in het einde der zestiende eeuw’, in Jaarboek Amstelodamum, Vol. 16, 1918, pp. 74-76 and 91-101; Exh. Fodor 1932 no.19; Atlas van Stolk, 1280; A.E. d’Ailly, Repertorium van de profielen der stad Amsterdam en van de plattegronden der schutterswijken, Amsterdam, 1953, cat.no. 17, pp. 20-21; B. van ‘t Hoff, ‘Grote stadspanorama’s gegraveerd in Amsterdam sedert 1609’, in Jaarboek Amstelodamum, Vol. 47 (1955), cat.no. 1c, pp. 81-131; Maria Simon, Claesz Jansz Visscher. Inaugural- Dissertation, Freiburg i. Br., 1958, cat.no. 160, pp. 170-73; George Keyes, Pieter Bast, Alphen aan den Rijn, 1981, no. 8, pp. 19-24; Irene de Groot & Robert Vorstman, Sailing Ships, Maarssen, 1982, no.20; Hollstein 125; Boudewijn Bakker [ed.], Het aanzien van Amsterdam. Panorama’s, plattegronden en profielen uit de Gouden Eeuw, Bussum/ Amsterdam 2007, no. 60, pp. 259-260.

 

 

WILLEM JANSZ. BLAEU

(Uitgeest/ Alkmaar 1571 – 1638 Amsterdam)

 Nova et Acurata Totius Europa: Tabula.

(New and accurate map of all of Europe)

Combined technique: engraving, etching and letterpress

Paper mounted on linen, contemporary hand-coloured, 118.5 x 166.7 cm.

Signed: Auct: Guil: Ianssonio AMSTELDAMI

This unknown stat must be dated between the second state of 1612 and the third one of 1624.

The engraving was probably done by Joshua van den Ende (1583/4-after 1638), the decorative parts likely by Hessel Gerritsz (1580/1-1632).

Cf. Schilder, MCN V, II.3 A (pp. 77-80, I02-I24: 6 copies of earlier and 3 later editions).

Formerly Rob Kattenburg collection

Purchased by the John Nurminen Foundation, Helsinki (Finland)

2008, Willem Jansz Blaeu – NOVA ET ACURATA TOTIUS EUROPAE TABULA (NEW AND ACCURATE MAP OF THE WHOLE EUROPE)

 

WILLEM JANZSOON BLAEU

(Uitgeest/ Alkmaar 1571 – 1638 Amsterdam)

Het Licht der Zee-vaert daerinne claerlijck beschreven ende afghebeeldet werde, alle de Custen ende Havenen, vande Westersche, Noordsche, Oostersche ende Middelandsche Zee’n.

Amsterdam: Willem Janzsoon Blaeu, 1630

In contemporary brown calf binding with 42 charts. 255 x 290mm

This 1630 edition is the last known foregoing Dutch edition of the Licht der Zee-vaert, printed by Blaeu and is only known in 2 examples.

References: Koeman: Atlantes Neerlandici, volume 4, M.BL7.  This edition is very rare; Prof. Koeman mentions only two copies. This example and one in the Royal Library of Stockholm.

ANTHONIE JACOBSZ. named THEUNIS LOOTSMAN

(Amsterdam 1606/7 – 1650)

Pascaerte van alle de Zee-Custen van Europa, 1654

Copper engraving on vellum, hand-coloured, 690 x 890 mm

Scale: 1:8.200.000

In cartouche: pascaerte Van alle de Zee-Custen van europa. Nieulijcx beschreven door Anthony Iacobßen. Men vintse te coop tot Amsterdam. Op’t Water in den Loots Man. 

Provenance: Germany, private collection Dresden

Documented examples: Amsterdam, Scheepvaartmuseum, inv. nr. A.2535; Rotterdam, Maritiem Museum, inv. no. WAE474

A very rare map of Europe on vellum. There are only two documented copies of the Lootsman edition known

Literature: S. de Meer, Het Zeekaartenboek, Zutphen 2007; Koeman; W.W. Ristow, Nautical charts on vellum in the Library of Congress, Washington D.C. 1977; M. de Meyer, De volks- en kinderprent in de Nederlanden van de 15e tot de 20e eeuw, Antwerpen/Amsterdam 1962; W. Voorbeijtel Cannenburg, A Dutch Chart that Survived the Ages, in: Imago Mundi, no. 4 1948, p. 63; D. Bierens de Haan, Bibliographie Néerlandaise, Rome 1883, p. 139.

LUDOLF BACKHUYSEN

(Emden 1630 – 1708 Amsterdam)

The States Yacht of Prince Maurice of Orange accompanied by warships with a Flute ship on the right; Amsterdam in the distance, ca. 1660

Etching over four sheets; together 66 x 115.5 cm
Previously unknown, undocumented condition

Provenance: Formerly Rob Kattenburg collection

HARUMI SHIBUKAWA

(1639 – Kyoto – 1716)

Tenmon Bun’ya no zu.

[Map showing divisions of the heavens and regions they govern]

Woodcut on Japanese native paper with modern silk borders,                                                                                                      on wooden roller and mounted in a wooden box, 104 x 55 cm.

Dated: 1677

Provenance: Japan, private collection

Other documented copies:

Science Museum, London                                                                                                                                                           Museum of Science, Osaka                                                                                                                                                      Prefectural Museum, Yamaguchi

Literature: Steven L. Renshaw & Saori Ihara, The Biographical Encyclopedia of Astronomers (New York, 2007), part 27, 1270; Kazuhiko Miyaijma, Japanese Celestial Cartography in: History of Cartography II (Chicago/London, 1994), p. 586 u. 588 ff. With ill. 14.6; Masayoshi Sugimoto & David L. Swain, Science and Culture in Traditional Japan (Cambridge/London, 1978), ill. 27, DSB XII, 403 f.; Shigeru Nakayama, A History of Japanese Astronomy: Chinese Background and Western Impact (Cambridge, 1969); Nishiuchi Masaru: Shibukawa no kenkyu [A Study of Shibukawa Harumi] (Tokyo: Kinsesisha, 1940).

JOHANNES VAN KEULEN I

(Deventer 1654 – Amsterdam 1715)

Hemels Pleyn / Plani Caelestis, ca. 1680

Copper engraving, contemporary coloured on cardboard, 50.4 x 63 cm

PIETER MORTIER

(Leiden 1661 – 1711 Amsterdam)

Novissima Amstelodami Tabula, 1708

Published in Sanson’s ‘Atlas Nouveau’ (1692).

Engraving, 470 x 580 mm

Literature: D’Ailly no. 239

Provenance: European private collection

JOACHEM HASEBROEK

(Amsterdam 1672 – 1756)

Onderwys in ‘t regte gebruyk van het Hemels-plyn, ca. 1720

Copper engraving, contemporary coloured, 56 x 67 cm

Ship’s antiques

THE WHALER’S FLUTE ‘DE PAEREL’

IR F. BAAY

A model

Length: 95.8 cm

Provenance: Netherlands, private collection

GERARD AND LEONARD VALK

(Gerard , Amsterdam 1652 – 1726 Amsterdam)                                         (Leonard, London 1675 – 1746 Amsterdam (?)                                                                                                            (Active in Amsterdam 1670 – 1726, temporarily in London (1678?)

The Terrestrial Globe, in cartouche:
Cosmotheore, Cælesti nostro Globo, Par, et plane Novus,

Hic Terrestri Ut ex isteret; …
Amstelredami,
Ao; 1700
Cum privilego

The Celestial Globe, in cartouche: Uranographia Caelum, omne hic complectens; …

et ad annum 1700 completum
MAGNO ab HEVELIO; …
GER, et LEON VALCK,
Amstelædamenses
Cum Privilegio

Only three pairs of this second state are known to exist worldwide Terrestrial and celestial globes both dated 1700

Literature: V.d. Krogt, Advertenties 179; V.d. Krogt, Globi Neerlandici, Vol. 1, no. 13 (this pair, one of 3 in state 2); V.d. Krogt, Old Globes in the Netherlands, Vol. 16 & 19 (this pair); cf. Yonge, Cat. Early Globes in the United States, p. 62, not in Dekker, Globes at Greenwich.

1997 – Gerard and Leonard Valk – A pair of Terrestrial and Celestial Globes

A CONTEMPORARY FULL HULL MODEL OF THE DUTCH 36-GUN MERCHANT FRIGATE ‘MERCURIUS’ (1747)

Built by Paulus van Zwijndregt (1681-1749) at the admiralty of Maaze dockyard, Rotterdam Overall measurements: 148 x 172 x 77.5 cm

The ‘Mercurius is thought to be the finest Dutch 18th century model still in private collection. The notorious shipwright Paulus van Zwijndregt, from an important dynasty of shipbuilders, went to great lengths to build his ideal ship. Years of craftsmanship were involved.

Where it took only 5 to 8 months to build a full-size VOC merchant ship, a top-of-the line ship-model like the Mercurius took over 3 years to complete.

In its distinct quality, superb refinement and perfect condition, it can only be classified with a dozen other contemporary models which are all preserved in museum collections.

Scale 1: 28,5. Built plank on frame, the three wales are painted black, between the top wales the upper deck which is pierced for 22 cannons. 10 guns are placed on the quarterdeck, another 4 are to be found on the forecastle. The hull is painted white under the waterline, green above the main rail. The model is very finely finished with many examples of refined craftsmanship; the trail-boards and head-rails are carved and painted gold, supporting a carved lion figurehead, in the head-rails at both sides flanked by a helmed Mercury figure, male-headed figure carved gillings at the rails’ base, all of the figures are painted gold. The transom and quarter galleries are richly carved and detailed in gold with mica-inlayed windows. A green banner carries the inscription ‘Mercurius anno 1747’. The decks are fully planked using handmade nails, and detailed with marked iron anchors, pin and fife rails, bell with belfry, railings, ladders, cannons rigged on carriages, hatch, compass, wheel, doors and windows on deck cabins and numerous other details. Three masts, the mizzen rigged with a lateen spanker spar, cross spars, tops and trees, standing and running rigging. Profesionally rerigged in the mid twenteeth century with handmade beaten ropes. All sails are hurled and there is a silk Dutch tricolour flying at stern, adorned with the VOC-A emblem of the Amsterdam VOC chamber. The States lion holding a sheaf of arrows on the flag flying from the main mast as well as a banner carrying the ensign of the admiralty. Displayed on a wood cradle. The hull measures 114 x 36 x 16 cm.

Provenance: Built by Paulus van Zwijndregt to be examined by Stadtholder William IV and the admiralty board, 1747, then on display in the Westelijke Raadskamer at the Admiraliteits- or Prinsenhof, Amsterdam; Collection M.F. (Frits) Enthoven, Amsterdam; his sale, A. W. M. Mensing & fils, Frederik Muller & Cie, Amsterdam, 26 October 1932, lot XI (Ill. as XII); purchased by P. Brandt for Stichting G. Rib- bius Peletier, Linschoten (fl. 1300,-); on loan to the Centraal Museum, Utrecht, 1940; sale Sotheby’s Mak van Waay, 28 October 1975, lot 271; private collection, Belgium.

2013 – A Contemporary Full Hull Model of the Dutch 36-gun merchant frigate Mercurius 1747

ADRIAEN DE BAGHIJN

(Worked in Amsterdam 1710 – 1750)

Silver ‘pair cased’ pocket watch with depiction of a whaling trip

Signed: An D Baghijn, AMSTERDAM                                                                                                                                  

Diameter: 46 mm.

Day and night watch with date indication. The movement is in gilt brass, with full platinum work, verge escapement, chain and snek. The silver dial is in champlevé technique, the underside depicting a whaling, in the center a date window. The inner and outer case are polished smooth and marked with master’s mark ‘IR’ in diamond under which a lily (= Jacob de Roosay, working 1692-1754 in Amsterdam).

Provenance: European private collection

Literature: P. Dekker, ‘Rederijgeschenken bij onze oude Arctische walvisvaart’, in: De Blauwe Wimpel, August 1981, pp. 276-279; Jens Munk, Martin Frobisher and Godske Lindenau, Drie Uoyagien Gedaen na Groenlandt, Om te ondersoecken of men door de Naeuwte Hudsons soude konnen Seylen; om alsoo een Doorvaert na Oost-Indien te vinden.Gillis Joosten Saeghman, Amsterdam c. 1660-1670, p. 13.

‘DE ZEVEN PROVINCIËN’

Model of Michiel de Ruyter’s famous flagship.

The flagship was built by the Admiralty of the Maze, based in Rotterdam

Dimensions: 208 cm wide, 213 cm high and 81 cm deep. Includes rigging and flags.

The model is about 100 years old and built by Rijksmuseum ship model builder and restorer Ir. F. Baaij.

Provenance: European private collection

Literature: Maritieme encyclopedie, deel VII Tanker-zijzwaard; Jaap R. Bruijn, Varend Verleden, 1998; Ab Hoving, Cachet, tijdschrift voor kunstliefhebbers nr. 34 maart-mei 2006.

2009 – Ir F Baay – Uitzonderlijk fraai scheepsmodel van de Zeven Provincien