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Lot Essay
Adriaen Cornelisz. Salm lived most of his life in Delfshaven, where he was a schoolteacher and a dealer in fabrics. On 19 October 1706, he was registered as Mr. Teykenaar (Master Draughtsman) with the Guild of Saint Luke in Delft. His known work consists only of pen paintings; mainly harbour views and whaling scenes. In his days, his native town was a centre of the whaling industry.
The inventory made up after his death mentions an Exempel boek, probably consisting of the drawings he used for his pen paintings, that indeed often show repeated motifs and compositions. In his technique, especially the combination of hatching in pen with the use of wash with the brush to indicate shadows, Salm closely followed Willem van de Velde the Elder. Typical for the master from Delfshaven is the use of a sharp object to scratch away ink from the surface to create certain effects.
In contemporary documents, Adriaen van Salm is called both 'Salm' and 'van der Salm', and Friso Lammertse (see J. Giltaij and J. Kelch (eds.), Lof der Zeevaert, Rotterdam and Berlin, 1996, p. 463) has pointed out that the artist favoured the signature 'A. V. Salm' for his later paintings, as is the case here.
It has been suggested that the present painting is a view from the Nieuwe Maas to Den Briel, with the Sint-Catharijne church in the distance.
The inventory made up after his death mentions an Exempel boek, probably consisting of the drawings he used for his pen paintings, that indeed often show repeated motifs and compositions. In his technique, especially the combination of hatching in pen with the use of wash with the brush to indicate shadows, Salm closely followed Willem van de Velde the Elder. Typical for the master from Delfshaven is the use of a sharp object to scratch away ink from the surface to create certain effects.
In contemporary documents, Adriaen van Salm is called both 'Salm' and 'van der Salm', and Friso Lammertse (see J. Giltaij and J. Kelch (eds.), Lof der Zeevaert, Rotterdam and Berlin, 1996, p. 463) has pointed out that the artist favoured the signature 'A. V. Salm' for his later paintings, as is the case here.
It has been suggested that the present painting is a view from the Nieuwe Maas to Den Briel, with the Sint-Catharijne church in the distance.