JAN VAN DE CAPPELLE (AMSTERDAM 1626-1679)
JAN VAN DE CAPPELLE (AMSTERDAM 1626-1679)
JAN VAN DE CAPPELLE (AMSTERDAM 1626-1679)
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JAN VAN DE CAPPELLE (AMSTERDAM 1626-1679)
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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
JAN VAN DE CAPPELLE (AMSTERDAM 1626-1679)

A calm with fishing boats and figures on a jetty

细节
JAN VAN DE CAPPELLE (AMSTERDAM 1626-1679)
A calm with fishing boats and figures on a jetty
signed and dated 'I.V. Cappelle 1651' (lower left)
oil on canvas
19 5⁄8 x 29 7⁄8 in. (49.7 x 76 cm.)
来源
with Martin H. Colnaghi, by 1892.
with Brunner Gallery, Paris, 1920.
Dr. E. Guinle, Casa Guinle, Rio de Janeiro; Christie's, London, 28 July 1926, lot 27 (unsold).
with Thomas Agnew & Sons, Ltd (according to RKD research files).
Major-General Sir Harold A. Wernher (1893-1973); (†) Christie's, London, 27 June 1975, lot 75.
with Leonard Koetser Gallery, by November 1975.
Anonymous sale [Property of the Executors of a Deceased's Estate]; Sotheby's, London, 3 December 1997 (=1st day), lot 86, where acquired by the present owner.
出版
C. Hofstede de Groot, A Catalogue Raisonné of the works of the Most Eminent Dutch Painters of the Seventeenth Century, VII, London, 1923, p. 188, no. 116.
W.R. Valentiner, 'Jan van de Cappelle', The Art Quarterly, IV, Autumn 1941, p. 296, under note 1.
M. Russell, Jan van de Cappelle 1624⁄6-1679, Leigh-on-Sea, 1975, p. 77, no. 116.
展览
London, Royal Academy, Exhibition of Works by the Old Masters, January-March 1892, no. 63 (lent by M.H Colnaghi).

荣誉呈献

Maja Markovic
Maja Markovic Director, Head of Evening Sale

拍品专文

Described by Cornelis Hofstede de Groot as ‘an excellent picture’ (op. cit.), this painting is in many respects a synthesis of van de Cappelle’s visual vocabulary in the late 1640s and early 1650s. Here, the artist depicts a small cluster of sailing and fishing boats positioned parallel to the picture plane and receding in strict linear perspective toward the distant horizon to create a sense of great pictorial depth. Two fishermen trudging through the shallows anchor the painting’s foreground. Much as with the Calm of approximately the same date in the Wallraf-Richartz-Museum, Cologne (fig. 1), a painting that has been regarded as among the artist’s masterpieces, van de Cappelle here employs a deliberately reductive group of vessels set against a characteristically luminous, silver-hued sky. His introduction of the wooden jetty with various figures taking in the ocean breeze or going about their daily activities anchors the left side of the composition and can similarly be found in other marines datable to around 1650, including the example dated 1649 in the Nationalmuseum, Stockholm (inv. no. NM 562), and that of 1650 in the National Gallery, London (inv. no. NG 6406).

Van de Cappelle was the son of a wealthy dyer and may have been self-taught, as suggested by the painter Gerbrand van den Eeckhout, who began a poem in the album amicorum of the Amsterdam poet Jacob Heyblocq with the line ‘In praise of the art of Jan van de Cappelle who taught himself to paint out of his own desire’. Documentary evidence suggests that van de Cappelle was extremely affluent and may therefore have painted more for his personal pleasure than a need for pecuniary gain, as suggested by his comparatively small body of work totalling fewer than 150 surviving paintings. He spent much of his life resident on the Keizersgracht, one of the wealthiest addresses in Amsterdam, before moving to a house on the Koestraat, for which he paid the princely sum of 9,600 guilders. An inventory of van de Cappelle’s estate following his death in 1679 showed he had amassed a fortune of 92,720 guilders in cash, seven houses, various parcels of land in Amsterdam, a country estate near Nieuwersluis aan de Vecht, a pleasure yacht and an extensive art collection composed of some 200 paintings – including lost portraits by Rembrandt and Frans Hals – and more than 6,000 drawings, roughly half of which were by four leading Dutch artists: Hendrick Avercamp (900 drawings), Rembrandt (500 drawings), Jan van Goyen (400 drawings) and Simon de Vlieger (1,300 drawings). The group by de Vlieger, who may have informally trained van de Cappelle, no doubt provided seemingly endless source material for the younger artist’s own paintings.

Despite nothing much of its history being known before the turn of the twentieth century, this painting must nevertheless have enjoyed considerable early fame. According to Wilhelm Valentiner (op. cit.), a somewhat larger variant formerly in the collection of P.A.B. Widener, catalogued as autograph by Hofstede de Groot (op. cit., no. 127), is a copy. A second copy, signed and dated ‘1651’ but with a third fisherman wading in the middle distance, sold Christie’s, South Kensington, 21 November 1991, lot 161.

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