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拍品專文
The artist belonged to a family of painters in Amsterdam, including his father, Jan Jansz. Sturch, who later changed his name to Sturckenburch, and two brothers, Johannes and Jacobus. Of the four, only paintings by Jacobus and Abraham are known to survive. Trained by his father, Abraham was greatly influenced by Ludolf Bakhuizen (for whom, see lot 563) in the pictorial treatment of sky and water, but he also absorbed influences from other well-known Amsterdam marine painters, notably Willem van de Velde II and Jan Abrahamsz. Beerstraten (the Beerstraten and Storck families were close friends and distantly related by marriage). The Van de Veldes (for whom, see lot 565), father and son, may have inspired Storck's accuracy in the rendering of ships' rigging and technical details, which is admired by naval historians.
Many of Storck's paintings depict Italianate harbours, for which he is regarded by some as one of the precursors of the vedutisti, but his most attractive amd popular paintings are his views of harbours, cities and river scenes, of which the present picture is a fine example. It is also very characteristic in its depiction of the recreational and ceremonial aspects of shipping, with an emphasis on colourful pleasure yachts occupied by passengers in festive dress (for example the Shipping on the IJ at Amsterdam in the National Maritime Museum, London).
The emphasis on spectators and passengers in his marine 'parades' and in scenes of sommercial and pleasure shipping gave Storck an opportunity to exercise his considerable skill in rendering the human figure, a skill that many other marine painters lacked and that is clearly demonstrated in the present work. Like Johannes Lingelbach, he seems to have on occasion painted the staffage in other painters' scenic views (for example The Dam at Amsterdam by Jan van Kessel in the National Gallery of Ireland, Dublin). Storck was also an excellent draughtsman, and drawings by him are preserved in several museums, for example in Amsterdam, Haarlem, Vienna, Edinburgh, Cambridge and London.
Many of Storck's paintings depict Italianate harbours, for which he is regarded by some as one of the precursors of the vedutisti, but his most attractive amd popular paintings are his views of harbours, cities and river scenes, of which the present picture is a fine example. It is also very characteristic in its depiction of the recreational and ceremonial aspects of shipping, with an emphasis on colourful pleasure yachts occupied by passengers in festive dress (for example the Shipping on the IJ at Amsterdam in the National Maritime Museum, London).
The emphasis on spectators and passengers in his marine 'parades' and in scenes of sommercial and pleasure shipping gave Storck an opportunity to exercise his considerable skill in rendering the human figure, a skill that many other marine painters lacked and that is clearly demonstrated in the present work. Like Johannes Lingelbach, he seems to have on occasion painted the staffage in other painters' scenic views (for example The Dam at Amsterdam by Jan van Kessel in the National Gallery of Ireland, Dublin). Storck was also an excellent draughtsman, and drawings by him are preserved in several museums, for example in Amsterdam, Haarlem, Vienna, Edinburgh, Cambridge and London.