Willem van de Velde II (Leiden 1633-1707 London)
No VAT will be charged on the hammer price, but VA… Read more THE PROPERTY OF A GENTLEMAN (lot 37)
Willem van de Velde II (Leiden 1633-1707 London)

A kaag and a wijdschip in a calm

Details
Willem van de Velde II (Leiden 1633-1707 London)
A kaag and a wijdschip in a calm
indistinctly signed with initials 'WVV' (lower centre, on the barrel)
oil on panel
8¾ x 12 3/8 in. (22.2 x 31.4 cm.)
Provenance
with Leonard Koetser, London, 1969, advertised The Burlington Magazine, March 1969, p. lxxxvii, from whom acquired by the present owner.
Literature
M.S. Robinson, The Paintings of the Willem van de Veldes, Greenwich, 1990, I, pp. 410-1, no. 534, illustrated, as 'studio' (see note below).
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis

Lot Essay

The present picture is a typical example of the small-scale calm scenes with shipping that earned Willem van de Velde a considerable reputation in his native country. Fishing boats and other vessels are shown at low tide on sand flats off the Dutch coast in a manner reminiscent of such works as the Calm in the Wallace Collection, London, (P143), or the picture sold at Sotheby's, London, 11 December 2003, lot 71. The artist is thought to have begun painting such scenes in the early to mid-1650s and many of his most celebrated calms were executed while still in his twenties. He made a speciality of them for at least a decade, returning to the theme less frequently in later years. They were revered for their compositional unity, their detailed drawing and above all, for their serene atmospheric effects, all qualities that are in evidence in the present work.

While no other version of this picture is known, the composition is similar to other calms from the 1660s which seems a plausible date for the present work. Robinson (loc. cit.) considered this a studio work 'with little help from the master' and proposed a later dating of circa 1700. His doubts about the picture can perhaps be explained by his failure to see the signature which has now been analysed and proven to be authentic.
Professor Jan Kelch, to whom we are grateful, regards the picture as autograph on the basis of a transparency.

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