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Willem I Van De Velde

(1611 -  1693 ) Wikipedia® : Willem I Van De Velde
VELDE van de Willem I Dutch Ships At Anchor Off The Coast

Moran /Apr 28, 2015
1,483.57 - 2,225.35
1,098.24

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Artworks in Arcadja
126

Some works of Willem I Van De Velde

Extracted between 126 works in the catalog of Arcadja
Willem I Van De Velde - The Dutch Fleet At Anchor On The Open Sea

Willem I Van De Velde - The Dutch Fleet At Anchor On The Open Sea

Original
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Price:

Lot number: 142
Other WORKS AT AUCTION
Description:
Willem van de Velde the Elder THE DUTCH FLEET AT ANCHOR ON THE OPEN SEA LEIDEN 1611 - 1693 LONDON Black chalk over gray wash, an added horizontal strip at the top; bears initials lower left: W. V. V J; inscribed verso, possibly by the artist (obscured by added strip) 108 by 442 mm; 4 1/4 by 17 3/8 in Provenance Sale, Amsterdam, Sotheby's, 16 November 2005, lot 145 Catalogue Note A dating has been suggested of around 1664, a year in which the Elder van de Velde spent much time at sea with the Dutch Fleet, making numerous rapidly executed drawings such as this, in which he recorded his observations. Most of Willem the Younger's drawings of this time consist of detailed studies or portraits of individual ships, often worked up from the base of a counterproof of one of his father's drawings. It seems the Elder van de Velde frequently took sketches made at sea and added extra sheets of paper at the top or sides, to make the compositions more balanced and complete, probably with a view to selling the drawings as independent works of art.
Willem I Van De Velde - A Busy Shipping Scene

Willem I Van De Velde - A Busy Shipping Scene

Original
Estimate:

Price: Not disclosed
Lot number: 181
Other WORKS AT AUCTION
Description:
Willem Van De Velde (1610-1693) Dutch.A Busy Shipping Scene, Ink, Pen and Wash, Inscribed R.H., Label on reverse, 7.75” x 11.75.Provenance; Collection R.Houldstick (R.H.), and J.B.(not identified) on the reverse of the drawing the following autograph notation appears, apparently in the hand of J.B.whose initials appear on the mat.The initials of R.H.also are on the face on the drawing.The reverse notation reads; J.B.No.374, Engraved by Pond P No 72, Arthur Pond, the engraver was born 1704 and died in 1758.Label titles; Charles Sessler Inc, Established 1882, Bookseller and Printmaker, 1308 Walnut Street, Philadelphia 7.
Willem I Van De Velde - A Double-sided Sheet Of Figure Studies (

Willem I Van De Velde - A Double-sided Sheet Of Figure Studies (

Original
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Price:

Gross Price
Lot number: 185
Other WORKS AT AUCTION
Description:
Lot Description Willem van de Velde I (Leiden 1611-1693 London) A double-sided sheet of figure studies (verso, pl. 15) pen and brown ink, brown ink framing lines 8.2 x 15.2 cm. Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report
Willem I Van De Velde - Dutch Ships At Anchor Off The Coast

Willem I Van De Velde - Dutch Ships At Anchor Off The Coast

Original
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Net Price
Lot number: 1093
Other WORKS AT AUCTION
Description:
Willem Van de Velde I (1611-1693 Dutch) Dutch ships at anchor off the coast, unsigned, paper with a cross watermark lower center, grey wash and black chalk on paper, sight size: 7.5'' H x 11.5'' W, est: Note: Paper size: 7.75'' H x 11.75'' W. Provenance: Sotheby's, 28 March 1968, lot 133, illustrated; Private Collection, Altadena, CA, through descent to the present owner, acquired from the above Visual: Foxing throughout. Discoloration to the paper throughout the upper portion. Toning to the paper except along the recto area backed by tape along the upper edge, heavier toning along the extreme edges. Spots of staining lower center. A very small spot of grime upper right. Mounted to the recto mat with tape along the upper and lower edges. Tape remnants from a previous mounting remain along the upper edge.
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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Gross Price
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.
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