Willem I Van De Velde

(16111693 ) - Artworks Wikipedia® - Willem I Van De Velde
VELDE van de Willem I The Dutch Fleet At Anchor

Sotheby's /Jul 4, 2012
74,515.64 - 99,354.18
Not Sold

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Artworks in Arcadja
114

Some works of Willem I Van De Velde

Extracted between 114 works in the catalog of Arcadja
Willem I Van De Velde - Dutch Harbor In A Calm

Willem I Van De Velde - Dutch Harbor In A Calm

Original
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Lot number: 32
Other WORKS AT AUCTION
Description:
Willem van de Velde the Elder LEIDEN 1611 - 1693 LONDON DUTCH HARBOR IN A CALM WITH SMALL VESSELS INSHORE AND BEACHED AMONG FISHERMEN, A KAAG AT ANCHOR, A STATES YACHT AND MEN O'WAR OFFSHORE: A "PENSCHILDERIJ" signed lower center W.V.Velde pen, ink and oil on panel 18 7/8 by 25 1/2 inches; 47.9 by 65 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Anonymous sale ("Property of a Gentleman"), Amsterdam, Sotheby's, 6 May 1998, lot 32; There purchased by the present collector. Exhibited New York, Luxembourg & Dayan Gallery, Grisaille, Part II, 7 November 2011-14 January 2012. Literature Sotheby's Amsterdam Magazine, June-August 1998 no. 3; Scott Reyburn, 'Art Market', in Antiques Trade Gazette, 23 May 1998, p. 26, reproduced; Grisaille, exhibition catalogue, New York 2011, pp. 72-73, reproduced, p. 145. This composition in black and white, a remarkable fusion of painting and drawing, is usually described as a pen-painting (after the Dutch penschilderij). The technique probably derives from the work of Hendrick Goltzius, but for the Mannerist painter it was a bravura demonstration of technical virtuosity, a means of astounding his viewers with his extraordinary dexterity, while for Willem van de Velde the Elder, it was more a means to an end. Over the course of his long career he made relatively few traditional oil paintings in color, preferring instead the pen-painting, and he viewed himself primarily as a draftsman, signing his letters “Scheepsteickenaer” (literally ship’’s draftsman). He spent most of his professional life aboard ships, recording on paper the events that passed before his eyes. His pen-paintings were in a sense translations of those shipboard drawings into more permanent works of remarkable clarity and directness, which were sought after and highly valued by his contemporaries. This panel is one of a group of less than 30 pen-paintings, mainly dating from the 1640s. Most are set along the shoreline and depict small private vessels, as well as the fishermen, longshoremen and fish sellers that depend on their catch. They are smaller, more intimate scenes than the later, grander subjects that make up the majority of his pen-paintings. Other similar works from the mid-1640s include A Kaag Ashore Near a Pier with Ships and Other Vessels (1648?), Kaags Close to the Shore in a Busy Scene Near Den Helder with a Ship Passing (before 1644), both National Maritime Museum, Greenwich and A Weyschuit Lying by a Sea Wall with Other Fishing Boats (circa 1645) with Edward Speelman, London, 1949. 1 The present work is executed in a remarkable combination of pen, ink and brush over a thin layer of lead white; below is a neutral ground covering an oak panel (Van de Velde’’s larger pen-paintings are on a canvas support). We know directly from the artist’’s contemporary, Pieter Blaeu, that it was necessary to take special care with the preparations of the panel because of Van de Velde’’s unusual technique. According to a letter from Blaeu to Cardinal Leopoldo de’’ Medici, who was negotiating to buy a pen-painting, it was necessary to allow the ground to dry for a longer than normal period, two to three months, “since otherwise the ground would not have hardened sufficiently to withstand the sharpness of the quill.” 2 Examining the panel itself, we can see that the foreground is drawn in a deep black ink with a thick quill, so that these elements of the composition have great clarity and intensity. For the delicate lines of the sky and clouds as well as the background, Van de Velde used a finer quill and a paler ink. In places he also appears to have used the point of a brush to fill in the background. The result is that he effectively creates the sense of recession without losing any detail, even in the distant buildings of the town beyond. While the fortified town in the distance is clearly defined, no one to date has been able to definitively identify the location of this composition. The topography and the types of vessels suggest a site on the Zuiderzee while the fortifications might point more toward the island of Texel, which was used as an anchorage for the Dutch navy. The figure group in the lower left corner reappears in a larger pen-painting of The Brederode Under Sail Leaving a Crowded Shore in the Vlie, 9 June 1645, in the National Maritime Museum, Greenwich. What seems surprising at first is that Van de Velde’’s pen-paintings are quite different in character than his drawings. The latter fall into two categories: rapid sketches made on shipboard when the artist accompanied the Dutch and later English fleets on maneuvers and in battle; and more finished “ship portraits,” exact and nautically correct works of specific vessels. Both types of drawing are more tonal in nature and lack the strict linearity that we see here. One of the exceptions is a drawing recently attributed to Willem van de Velde, A View of Dunkirk Harbor, Probably During the Blockade by the Dutch in 1639, now in the Clement C. Moore collection. 3 1. M. S. Robinson, Van de Velde: a catalogue of the paintings of the elder and the younger Willem van de Velde, Greenwich 1990, vol. I, pp. 98-99 and 101-102, cat. nos. 283 and 411 and pp. 99-100, cat. no. 286. 2. D. Freedberg et al., “Paintings or Prints? Experiens Sillemans and the Origins of the Grisaille Sea-piece: Notes on a Rediscovered Technique,” in Print Quarterly, vol. I, 1984, pp. 151-153. 3. See J. Shoaf Turner, Rembrandt's World: Dutch Drawings from the Clement C. Moore Collection, exhibition catalogue, New York 2012, pp. 112-113, cat. no. 46, reproduced.
Willem I Van De Velde - The Dutch Ship Zeven Provincien

Willem I Van De Velde - The Dutch Ship Zeven Provincien

Original
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Lot number: 27
Other WORKS AT AUCTION
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SOLD BY ORDER OF THE 12TH DUKE OF NORTHUMBERLAND AND THE TRUSTEES OF THE NORTHUMBERLAND ESTATES Willem van de Velde the Elder LEIDEN 1611 - 1693 LONDON THE DUTCH SHIP ZEVEN PROVINCIEN Graphite and grey wash on three joined sheets; inscribed in pen and brown ink, lower right: d seffe provense and above the bowsprit: nañer 368 by 791 mm Laid down on paper. The work is made up of three joined sheets which meet vertically at the the centre left and right of the composition. There are four additional old fold lines running vertically down the width of the sheet. There is evidence of some minor surface dirt to the four edges and some minor light brown stains to the sheet in places. The paper has buckled in places, predominantly along the edges, due to the way the sheet is currently laid down. The medium is fresh throughout. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Willem I Van De Velde - A Dutch Man O'war Before The Wind

Willem I Van De Velde - A Dutch Man O'war Before The Wind

Original
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Gross Price
Lot number: 154
Other WORKS AT AUCTION
Description:
Sir Robert Witt (L.2228b); Sir John Witt (L.646a), his sale, London, Sotheby's, 19 February 1987, lot 295 London, Courtauld Institute Galleries, The John Witt Collection, Part I, European Schools, 1963, no. 60 154 Willem van de Velde the Elder LEIDEN 1611 - 1693 LONDON A DUTCH MAN O'WAR BEFORE THE WIND Black chalk; signed by the Younger in brown ink: W. V. V. J. 295 by 370 mm; 11 1/2 by 14 1/2 in Estimate 14,000 - 18,000 USD Print Please notify me when the condition report is available
Willem I Van De Velde - The Dutch Fleet At Anchor

Willem I Van De Velde - The Dutch Fleet At Anchor

Original
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Lot number: 129
Other WORKS AT AUCTION
Description:
LOT 129 WILLEM VAN DE VELDE THE ELDER LEIDEN 1611 - 1693 LONDON THE DUTCH FLEET AT ANCHOR Black chalk and grey wash with touches of pen and black ink, on two joined sheets of paper; extensively inscribed in black chalk, upper left: dit zijnde (galeij?) met de thoren schuyt /...komen and illegibly, bottom centre 300 by 768 mm
Willem I Van De Velde -  London A Fort On The Dutch Coast Near Den Helder

Willem I Van De Velde - London A Fort On The Dutch Coast Near Den Helder

Original
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Lot number: 96
Other WORKS AT AUCTION
Description:
Willem van de Velde the Elder (Leiden 1611-1693 London A fort on the Dutch coast near den Helder, with a fleet off-shore black chalk, grey wash 6½ x 12½ in. (16.3 x 31.9 cm.) Provenance John Thane (L. 1544). Anonymous sale; Sotheby's Mak van Waay, Amsterdam, 19 April 1982, lot 48. with Spink & Son, London. Richard B. Gump; Sotheby's, New York, 8 January 1991, lot 11l. Lot Notes This view has been identified as Den Helder, in the northern Netherlands where ships pass from the Zuiderzee to the Noordzee. For similar views by this artist which are dated to around 1753, see M. Robinson, The Willem van de Velde drawings in the Boymans-van Beuningen Museum, II, Rotterdam, 1979, pl. 10, 14.
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