p. 156-160 The Marine Painters
156 MUSEUM OF AMSTERDAM.
... "No. 324 (now no. 297). This painting recalls a glorious period for the Dutch nation. It shows the capture of an English warship with a hundred guns, the Prince-Royal, commanded by Sir George Askew. As he lowers his flag, Dutch sailors board the ship. Other warships can also be seen, as well as the small sloop in which the famous painter had been brought to make his sketches.This event took place on June 13, 1666, the third day of the battle fought by Lieutenant Admiral M. A. de Ruijter against the English fleet led by Admiral Monk, Duke of Albemarle, and Prince Rupert [259]1 – No. 325 (now no. 298). The counterpart, which is a continuation of the previous one, depicts four liners taken from the English during the same action"[260].2
Both are from the Van der Pot collection and were purchased by the Dutch government3 in 1808 for 8,000 guilders.4 Height almost 2 feet by 2 feet 7 inches wide (1).
In the description we noticed the small sloop ...
------
(1) The new cat. gives a facsimile of a strange signature, allegedly on the painting of the Battle: A. v. V.5 What does this A mean for the first name, instead of the W for William? We must assume that this signature, which is clearly false, was made by an unwitting draftsman who confused Willem with his brother Adriaan, especially since this A resembles the shape of Adriaan's in his authentic signatures.
259
Willem van de Velde (II)
The Capture of the Royal Prince, 13th june 1666, episode of the Four-Days Battle, 11-14 june 1666, diring the Second English War (1665-1667), c. 1670
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-438
260
Willem van de Velde (II)
Captured English Ships after the Four Days’ Battle, 11-14 june 1666: "Swiftsure", "Seven Oaks", "Loyal George" and "Convertine", during the Second English Sea war (1665-1667), c. 1666
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-439
Interleaved page (1/2)
Van Everdingen, p. 150, est un très grand paysagiste. His forename is Allaert, as he signed etchings. He has many pictures in Copenhagen (see Stockholm).6
A first rate Waterfall in Arenberg collection.7
Evert van Aalst, born in Delft 1602, died in 1658.8
Willem van Aalst born in Delft 1620, nephew and pupil of Evert, and died in Amsterdam in 1679.9 Master of Rachel. He has a picture in the Rotterdam museum.10
At van Loon, a rooster – superb! By Willam, or by Evert?11
Neither dates nor information on Renier van Vries in Im. and only 4 lines.12
See his picture in Brussels museum.13 - He is very rare.
G. Berck Heijden, 1667, at Cambrai: Dumont.14
Gerit Berckheijden, born in Haarlem 1645, died in same place 1698.15
It is he who drowned in a canal, and not his brother Job, born in 1637, also in Haarlem, and died in 1693.16 Villot has confused the two.
On Job see Rotterdam,17 Berlin18 and Arenberg19 (and at the end)20
Waagen says only: died in 1698. He is mistaken, like Villot.
Francfort: born in 1628, died 1698. No 242: signed J. Berk Heyden.21
No. 243 without signature.22
Verboom, besides Ad v. velde,23 Ph. Wouverman and Lingelb. painted the staffage in his pictures.
He has an excellent landscape signed, in the Brussels museum.24
- Griffier was born in 1645 in Amsterdam?25
- Hendrik van Vliet is the son (following the new catalogue),26 the nephew (nephew or cousin, following Im.#27 of Willem van Vliet, born in Delft 1584, died in 1652.##28 and who signs W. van der Vliet .f. Brussels museum.29 Hendrik worked with Willem and with Mierevelt, It is not noted if Jan George van Vliet, born in Delft c. 1610, student of Rembrandt and etcher is the same family.
It is probable. Son of Willem?30
# According to Houbraken and Weyerman
## 1642 Houbr, Wey.31
Interleaved page (2/2)
Liège museum no. 91. Landscape: R/V. Vries and dated.32
Stolberg 112. vGoien 1638.33 See the dates Suermondt.34
Id. 236:An Inn: S vRuysdael 1647.35
and the signature of picture Strätter.36
H V Limborcht (no. 181 ed. of ’59)37
I.v Goien 1623 - Brunswick38
He always? signs a single ‘I’. see Suermondt Cat .39
No - he signs Goijen à . . .
Hübner observes correctly that the views of Saftleven and of Griffier are mostly of the upper Rhine, and almost of the Swiss Rhine, with their mountains and their undulating river banks40
The Both from Dresden are all signed without initial or forename41
There is a second van Goyen in the new catalogue.42
Esaias p. 157 is good and important.43
There is a replica of the van der Poel, 1654, in the chateau Moyland of the family Steengracht (Vosmaer, Nederl. Spect., Exh de Delft)
and two by Daniel Vosmaer, the contemporary and the compatriot of the Delftsche. 44
157 THE MARINE PAINTERS.
... on which the artist looks at the battle. Willem drew his sea battles to life, as well as his storms and shipwrecks. In the Life of Admiral de Ruijter, Gerard Brandt recounts the battle that was about to take place between the English and the Dutch, particularly this episode: "From June 6 to 13, 1666, Willem van de Velde came to the fleet every day with the intention of making sketches of what was about to happen..... He had himself taken in a sloop to the places from which one could best see...."45
These three important paintings are followed by three more ordinary seascapes: A churning water, as the catalog says; the effect of a fresh breeze; three warships and a few other ships; medium quality; height 3 feet 2 inches, width 3 feet 8 inches [261];46 – and two Calm waters; the smallest of these compositions, on a panel of about 1 square foot, is the best: on the right, a wooden jetty, protruding; a ship, a few boats. Small figures of 9 to 10 lines, very fine.47 At sea a three-master and some boats in the distance [262].48 The other Calm is slightly larger: about a foot and a half wide [263].49 None of these three paintings is signed.50
William's uncle, Esaias van de Velde, born in 1597, died in 1648, brother of William the Elder,51 is the author of a "Symbolic Subject from the Time of Prince Maurice", a painting that seems curious but is barely visible because of the height at which it was placed [264].52
261
studio of Willem van de Velde (II) attributed to Willem van de Velde (II)
A kaag and other ships in a strong breeze, c. 1670
Groningen, Groninger Museum, inv./cat.nr. 1931.0122
262
studio of Willem van de Velde (II)
Wide ship in front of a jetty; a three-master in the background on the left, c. 1660
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-437
263
Willem van de Velde (II)
Wide ship, quay and three-masters at anchor in calm weather; in the background the silhouette of a coastline and buildings, c. 1660
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-440
264
follower of Adriaen van de Venne
Satirical representation of Dutch politics around 1619, ca. 1619 - ca. 1620
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-434
158 MUSEUM OF AMSTERDAM.
I have come across a few fine seascapes by Backhuizen in my life, so I must consider him a master of some value; but I must confess that his painting generally strikes me as shabby, small, cold and mannered. This counter clerk, this calligrapher who sold his penmanship for as much as 100 guilders – the price of Rembrandt's famous etching Jesus heals the sick – 53 this writing teacher, who later became a painter, never had any artistic sense, in my opinion. If Backhuizen did not exist, we did not need to invent him, for he is a sad example. In the sublime aspect of the sea, it is the detail that concerns him! It has been said that he was driven out to sea by storms, no doubt in imitation of Willem van de Velde. Joseph Vernet also often experienced this emotion. But the storms of Backhuizen and those of Vernet, though highly regarded in their time, have already diminished and will continue to do so.There is always, in every country, among the contemporaries of every school, a group of wealthy bourgeois who fall in love with vulgar painters. The Dutch merchants of the xviith century, who despised Cuijp, Metsu, Pieter de Hooch, Jan Steen, Hobbema, could not help but glorify Backhuizen, and he was a great success during his lifetime.
Smith recounts, according to someone not named, a rather characteristic trait of Backhuizen.54 At the death of this former bureaucrat, a good fellow by the way, as far as ...
159 THE MARINE PAINTERS.
... we can tell, was found in his room a money pouch containing guilders, equal in number to his years of life (78), with a bill expressing the wish that this money be distributed to certain painters who would be invited to attend his funeral. At the same time, he ordered that each attendee be given a bottle of wine that he had set aside for the occasion, – on the condition that the money be spent and the wine drunk cheerfully in memory of him.
One of his paintings in the Amsterdam museum is of historical interest. It shows "the Grand Pensionary Jan de Witt embarking to lead the expedition of Holland's fleet" in the conflict of 1666. The coast is covered with a large crowd and Jan de Witt himself arrives, surrounded by an escort. Warships and other vessels are ready to depart. Large canvas, 4 feet high and 4 and a half feet wide. Signed, in fantastic letters: L. Bakh Ao 1690 (1) [265].55
A second painting shows the Mosselkade, at the Y in Amsterdam. Many ships in the harbor and figures on the dike, women and children, sailors, and a figure said to be the painter's portrait. Signed: L.Backhuy and dated 1673. Height 2 feet 8 inches, width 2 feet 2 inches. Cost 1,005 guilders at the Van der Pot auction [266].56 Frankly, it is very ugly.
------
(1) Bought for 1,600 guilders (new cat.).
265
Ludolf Bakhuizen
Embarkation of marines on the Texel roadstead, 1671 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-8
266
Ludolf Bakhuizen
The Y at Amsterdam, seen from the Mosselsteiger (mussel pier), 1673 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-9
160 MUSEUM OF AMSTERDAM.
The third painting, I think also from the same collection, is smaller and better, except for the characters, which are hideous. It is titled: Rough sea with a gust of wind that recedes in the distance. Signed: L. Bakh 1692 [267].57
Hendrik Dubbels, who is sometimes referred to as Ludolf Backhuizen's master, was in fact his pupil.58 He is later than Backhuizen, most certainly, and even weaker than him. We have by Dubbels, in the Amsterdam museum, a Calm Water [268].59 His masterpiece is in the Van der Hoop Museum.60
Renier Nooms, nicknamed Zeeman, often comes near Willem van de Velde. He is a very tight and correct master, as can be seen in his important painting of the old Louvre, in the Paris Museum (no. 586);61 he painted both city and seascapes. His works are rare, and although he is said to have lived in Berlin for a long time, the museum there has no painting by him. Amsterdam does have one: The Naval Battle off Livorno in 1612 [269].62 There is another excellent painting in the Rotterdam museum.63
Jan van de Capelle 64 was also a good marine painter, of the generation that lived in the mid xviith century. His only painting, in the Amsterdam museum, is signed and dated 1650. The catalog calls it (no. 51): "a river with reflecting water, and a crowd of vessels" [270].65
Lieve Verschuur was born in Rotterdam at the same time. We have from him: Het Kielhalen van de chirurgijn....
267
Ludolf Bakhuizen
Rough sea with a sailing vessel and a warship, on the right some figures on the coast, 1692 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-10
268
Hendrick Jacobsz. Dubbels
River view, 1650-1655
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-92
269
Reinier Zeeman
Battle of Leghorn, 12 March 1653, in or after 1653
Amsterdam, Rijksmuseum, inv./cat.nr. A 294
270
Jan van de Cappelle
The Home Fleet Saluting the State Barge, 1650 (dated)
Amsterdam, Rijksmuseum, inv./cat.nr. SK-A-453
Notes
1 Willem van de Velde (II), The Capture of the Royal Prince, c. 1670, Amsterdam, Rijksmuseum, inv. no. SK-A-438; Smith 1829-1842, vol. 6 (1835), p. 340-341, no. 77; Aanwijzing 1853, p. 28, no. 297, Velde (Willem van de; 1633-1707), Een Tafereel van den Vierdaagschen Zeeslag, in 1666 (A Scene of the Four-Day Sea Battle, in 1666) (tax.: fl. 18,000); Amsterdam 1858, p. 148, no. 332.
2 Willem van de Velde (II), Captured English Ships after the Four Days' Battle, c. 1666, Amsterdam, Rijksmuseum, inv. no. SK-A-439; Smith 1829-1842, vol. 6 (1835), p. 341, no. 78; Aanwijzing 1853, p. 28, no. 298, De wedergade daarvan (It's counterpart) (tax.: fl. 18,000); Amsterdam 1858, p. 148-149, no. 333.
3 At the time the Kingdom of Holland under King Louis Napoleon. Apparently, Thoré-Bürger did not want to explicitly mention the French Era in the Netherlands.
4 In the margine, Thoré-Bürger has written: 'et... 1702 / payés avec 2 / autres 920 fl.'.
5 In the margin below Thoré-Bürger has written: 'W.V.V. (nouv. ed. 1859)'.
6 For instance: Allaert van Everdingen, Norwegian Rocky Landscape with Waterfall and River Valley, 1647, Copenhagen, Statens Museum for Kunst, inv. no. KMSsp513. Allaert van Everdingen, Shore with Cliff, 1648, Stockholm, Nationalmuseum, inv. no. NM 421. Thoré-Bürger seems to have visited in Christiansborg, a palace in Copenhagen, because on the very last page of the annotated copy of vol. 1, is a reference to a painting by Herman Naiwincx, with figures by Gerbrand van den Eeckhout at Christiansborg.
7 Bürger 1859, p. 63-64, p. 130-131, no. 15. Only a reproductive print after this painting is extant: Paul Lauters, Forest Landscape with a Waterfall, c. 1828-1829, London, British Museum, inv. no. 1861,1109.88.
8 He deceased in 1657.
9 He was born in 1627 and deceased in 1683. See also below, p. 166.
10 Studio of Wilem van Aelst, Vase of Flowers in a Niche, 1662, Rotterdam, Museum Boijmans van Beuningen, inv. no. 1005; Rotterdam 1849, p. 5, no. 2.
11 We could identify this painting. The Van Loon collection was sold in 1878 to the English collector Lionel de Rothschild, and it is not listed in Waterhouse 1967.
12 Immerzeel 1842-1843, vol. 3 (1843), p. 211. See above, p. 151, and Thoré-Bürger's comment opp. 1 (2/3).
13 Roelof van Vries, Landscape with a Deer Hunt, Brussels, Royal Museums of Fine Arts of Belgium, inv. no. 83; Pauwels 1984, p. 322, no. 83.
14 There is no painting by Berckheyde in sale Dumont, Cambrai (Renaut, Durend), 30 September-5 October 1878, Lugt 38628. The only painting by his hand, dated 1667, that is included in the RKD images database is: Heemstede Castle, 1667, London, Mansion House, of which the nineteenth-century provenance is unaccounted for.
15 He was born in 1638. Also see above, p. 154.
16 He was born in 1630.
17 This painting was burnt in 1864, Giltaij 2000, p. 244.
18 Job Berckheyde, Cityscape in Winter, Berlin, Staatliche Museen, inv. no. 845; Waagen 1857, p. 285-286, no. 845a.
19 Bürger 1859, p. 48, 125-126, no. 6. Only a reproductive print after this painting is extant: Eugène De Loose and Jean Baptiste Madou, The Courtyard of the Amsterdam Stock Exchange, c. 1828-1829, Santa Monica, Getty Research Institute.
20 Thoré-Bürger refers to the end of this annotated volume, the annotations opp. p. 332,where he lists some further paintings by this artist.
21 It is actually signed: ‘g. Berck Heyde’: Gerrit Berckheyde, View of the Great Synagogue and the Portuguese Synagogue in Amsterdam, c. 1680-1685, Frankfurt am Main, Städel Museum, inv. no. 259; Passavant 1858, p. 102, no. 242, as by Job Berckheyde.
22 Manner of Job Berckheyde, Fish Market on Damrak in Amsterdam, formerly Frankfurt am Main, Städel Museum, inv. no. 154, sold in 1868, see: Zeitreise Städel Museum; Passavant 1858, p. 102, no. 243. With many thanks to Almut Pollmer-Schmidt.
23 See above, p. 151 and the annotations by Thoré-Bürger opp. p. 144 (1/2).
24 Adriaen Hendricksz. Verboom, Departure for the Hunt, Brussels, Royal Museums of Fine Arts of Belgium, inv. no. 243; Pauwels 1984, p. 309, no. 243.
25 Immerzeel 1842-1843, vol 1, p. 295. The life dates of Jan Griffier (I) are c. 1652-1718; see above, p. 151.
26 Also as such in Amsterdam 1858, p. 156, no. 347; , p. 161, no. 347. See above, p. 154.
27 Immerzeel 1855/1974, vol. 3, p. 203.
28 Immerzeel 1842-1843, vol. 3 (1843), p. 202. Willem van der Vliet died in 1642.
29 Willem van der Vliet, Portrait of a Man, Possibly Lambert van Overschie, Brussels, Royal Museums of Fine Arts of Belgium, inv. no. 409.
30 Jan Gillisz. van Vliet was not related to Willem and Hendrik van der Vliet.
31 Houbraken 1718-1721, vol. 1 (1718), p. 121. Here Willem van der Vliet and Michiel van Mierevelt are mentioned as teachers of Hendrick van Vliet. Weyerman writes more or less the same: Weyerman 1729-1769, vol. 1 (1729), p. 372-373.
32 Liège 1893, p. 13, no. 88; Liège 1926, p. 79, no. 49. Thoré-Bürger clearly had an earlier catalogue in which this painting was no. 91 and in which a signature and date are mentioned.
33 Sale Andreas Graf zu Stolberg-Stolberg, Hannover (Charles Rumpler), 31 October-November 1859, Lugt 25060, no. 112; annotated in Thoré-Bürger’s handwriting: ‘VGoien 1638’. This painting has disappeared, see: Beck 1972-1991, vol. 2 (1973), no. 1208b. See for Jan van Goyen above, p. 149.
34 Bürger/Waagen 1860, p. 148: 1598-1666. Today, his dates are considered to be: 1596-1656.
35 Sale Andreas Graf zu Stolberg-Stolberg, Hannover (Charles Rumpler), 31 October-November 1859, Lugt 25060, no. 236, annotated in Thoré-Bürger’s handwriting: ‘S vRuijsdael 1647 très clair formant’; Stechow 1975, p. 89, no. 141.
36 Stechow 1975, p. 79, no. 72A. Probably: Salomon van Ruysdael, A Fortress Tower on the Waterfront, 1661, in sale Munich, (Neumeister), 18 September 1991, no. 448.
37 Hendrik van Limborch, Pastoral Scene, c. 1714-1715, Amsterdam, Rijksmuseum, inv. no. SK-A-219; Amsterdam 1859, p. 84, no. 181. For van Limborch, see above, p. 148.
38 Jan van Goyen, Fantasy View of a Village, with the Petronellakapel at De Bilt, 1623, Braunschweig, Herzog-Anton-Ulrich Museum, inv. no. 339; Pape 1849, p. 36-37, no. 103. For Jan van Goyen, see above, p. 149.
39 Jan van Goyen, Summer & Winter, 1621, Berlin, Staatliche Museen – Gemäldegalerie, inv.nos. 865A, 865B; Bürger/Waagen 1860, p. 148, no. 43-44, as dated 1620.
40 This remark is not in Hübner 1856. Could this have been an oral communication from Julius Hübner, when Thoré-Bürger was visiting Dresden? On Saftleven and Griffier see above, p. 151.
41 Hübner 1856, p. 252-253, no. 1208-1214. Since no signatures are mentioned in the catalogue, Thoré-Bürger must have based this statement on his own inspection of the paintings. No. 1212 might possibly be identical to: Jan Both, Ruines by the Sea, Dresden, Staatliche Kunstsammlungen, Gemäldegalerie Alte Meister, inv. no. 1271. The other paintings cannot be identified.
42 Jan van Goyen, The Valkhof in Nijmegen, 1641, Amsterdam, Rijksmuseum, inv. no. SK-A-122; Amsterdam 1858, p. 47, no. 97. For the first Jan van Goyen see above, p. 149.
43 Follower of Adriaen van de Venne, Satire on Dutch Politics around 1619, c. 1619-1620, Amsterdam, Rijksmuseum, inv. no. SK-A-434.
44 Probably: Daniel Vosmaer, View of Delft after the Explosion of the Gunpowder Warehouse, Delft, Stedelijk Museum Het Prinsenhof, inv. no. PDS107; Delft 1863, p. 44, no. 1011. In De Nederlandsche Spectator no. 30 (23 July 1863), p. 234, an anonymous author wrote that the depicted scene was the same as in the painting by Egbert Lievensz. van der Poel in the Rijksmuseum (The explosion of the powder magazine in Delft, 12 October 1654, c. 1654-1660, Amsterdam, Rijksmuseum, inv. no. SK-A-309). Later, in De Nederlandsche Spectator no. 39 (26 September 1863), p. 306, under ‘Berigten en mededeelingen’, an anonymous author (who, according to Thoré-Bürger, was Carel Vosmaer) added that the Steengracht family had a replica of the Van der Poel painting in the Hall of Moyland Castle. And that two paintings with the same depiction by Daniel Vosmaer existed. Many thanks to Quentin Buvelot, who, in his research into the Steengracht family collection, had only come across one Van der Poel painting in an inventory made in 1906 by a notary Dr. Rath with as subject “Kriegsübel” (evils of war), as hanging in the Great Hall of Moyland Castle (e-mail 27 October 2025).
45 Brandt 1687, p. 476: ‘During these days, the renowned draughtsman of ships Willem van de Velde joined the fleet, with the intention to depict the events of the upcoming battle after life: to which end a certain bargeman would take him around, or to the place where he would find the best perspective for his depiction’. (‘Ontrent deeze daagen was de vermaarde scheepsteekenaar Willem van den Velde in de vloot gekoomen, met voorneemen om de voorvallen van ’t aanstaande gevecht naar ‘t leven af te beelden: ten welken einde zeeker Galjootschipper hem rondtom zou voeren, of te plaatze daar hy ‘t beste gezicht voor zyne teekening zou vinden’.)
46 Willem van de Velde (II), A Kaag and Other Ships in a Strong Breeze, c. 1672-1673, Groningen, Groninger Museum, inv. no. 1931.0122; Smith 1829-1842, vol. 6 (1835), p. 379, no. 211; Aanwijzing 1853, p. 28, no. 302, Velde (Willem van de; 1633-1707), Een woelend Water (A Turbulent Water) (tax.: fl. 20,000); Amsterdam 1858, p. 148, no. 331. This painting was disposed of by the Rijksmuseum in 1931, in exchange for a painting by Hercules Segers (River Valley, c. 1626-1630, Amsterdam, Rijksmuseum, inv. no. SK-A-3120), see: Van Thiel et al. 1976, p. 867, no. A 441.
47 A line (‘ligne’) measures 1/12 inch, which equals c. 21 mm.
48 Willem van de Velde (II), A Harbor, Amsterdam, Rijksmuseum, inv. no. SK-A-437; Smith 1829-1842, vol. 6 (1835), p. 380, no. 212; Aanwijzing 1853, p. 28, no. 300, Velde (Willem van de; 1633-1707), Een stil Watergezigt (A quiet Waterscape (tax.: fl. 10,000); Amsterdam 1858, p. 147, no. 329.
49 Willem van de Velde (II), Ships before the Coast, after 1670, Amsterdam, Rijksmuseum, inv. no. SK-A-440; Smith 1829-1842, vol. (1835), p. 379, no. 210; Aanwijzing 1853, p. 28, no. 301, Velde (Willem van de; 1633-1707), Een als voren [Een stil Watergezigt] (One as before [A quiet Waterscape]) (tax.: fl. 2,000); Amsterdam 1858, p. 148, no. 330.
50 Here, Thoré-Bürger has written down: ‘le 329 a des initiales'. This refers to Willem van de Velde (II), A Harbor, Amsterdam, Rijksmuseum, inv. no. SK-A-437 [262] (see above), which is indeed monogrammed.
51 Esaias van de Velde was not related to the Willems van de Velde.
52 Follower of Adriaen van de Venne, Satire on Dutch Politics around 1619, c. 1619-1620, Amsterdam, Rijksmuseum, inv. no. SK-A-434; Aanwijzing 1853, p. 28, no. 296, Velde (Esayas van de; 1597-1648), Een zinspelende Voorstelling uit den tijd van Prins Maurits (An allusive Representation from the Time of Prince Maurice (tax.: fl. 500); Amsterdam 1858, p. 147, no. 328, as by Esaias van de Velde. See also the note by Thoré-Bürger opp. p. 156 (2/2).
53 Rembrandt's so-called Honderd Gulden Print, c. 1648, etching, engraving and drypoint, Amsterdam, Rijksmuseum, inv. no. RP-P-1962-1.
54 Smith 1829-1842, vol. 6 (1835), p. 403-404.
55 Ludolf Bakhuizen, Dutch Ships in the Roads of Texel; in the middle the 'Gouden Leeuw', the Flagship of Cornelis Tromp, 1671, Amsterdam, Rijksmuseum, inv. no. SK-A-8; Smith 1829-1842, vol. 6 (1835), p. 437, no. 110; Aanwijzing 1853, p. 4, no. 7, Bakhuysen (Ludolph; 1631-1709), Het aan boord gaan van den Raadpensionaris Joan de Witt, om zich in 1665 als Gevolmagtigde op de Hollandsche Vloot te begeven (The boarding of Grand Pensionary Joan de Witt, to embark as Plenipotentiary on the Dutch Fleet in 1665 (tax.: fl. 15,000), Amsterdam 1858, p. 2-3, no. 4.
56 Ludolf Bakhuizen, The IJ near Amsterdam, 1673, Amsterdam, Rijksmuseum, inv. no. SK-A-9; Smith 1829-1842, vol. 6 (1835), p. 413, no. 32; Aanwijzing 1853, p. 4, no. 8, Bakhuysen (Ludolph; 1631-1709), Gezigt op den zoogenaamden Mosselstijger, aan het Y te Amsterdam (View of the so-called Mussel Jetty, at the Y in Amsterdam) (tax.: fl. 5,000); Amsterdam 1858, p. 3, no. 5.
57 Ludolf Bakhuizen, Rough Sea, 1692, Amsterdam, Rijksmuseum, inv. no. SK-A-10; Smith 1829-1842, vol. 6 (1835), p. 417, no. 47; Aanwijzing 1853, p. 4, no. 9, Bakhuysen (Ludolph; 1631-1709), Eene woelende Zee bij eene wegtrekkende stormbui (A raging sea with a receding storm) (tax.: fl. 4,000); Amsterdam 1858, p. 3-4, no. 6.
58 According to Middendorf in Giltaij/Kelch 1996, p. 255, Dubbels was first the teacher of Ludolf Bakhuizen and since 1666, he worked in the style of Bakhuizen, perhaps even in his studio.
59 Hendrick Jacobsz. Dubbels, River View, c. 1650-1655, Amsterdam, Rijksmuseum, inv. no. SK-A-92; Aanwijzing 1853, p. 9, no. 70, Dubbels (Hendrik), Een stil Watergezigt (A quiet Water view) (tax.: fl. 300); Amsterdam 1858, p. 32, no. 70. See also the remark by Thoré-Bürger opp. p. 168.
60 Hendrick Jacobsz. Dubbels, A Fleet near Den Helder, c. 1657-1677, Amsterdam, Amsterdam Museum, inv. no. SA 7486. See also: Thoré 1858-1860, vol. 2 (1860), p. 150.
61 Reinier Zeeman, View of the Old Louvre, Before the Expansions Undertaken under Louis XIV, c. 1656, Paris, Musée du Louvre, inv. no. 1977; Villot 1852, p. 317, no. 586.
62 Reinier Zeeman, The Battle of Livorno, 1653-1664, Amsterdam, Rijksmuseum, inv. no. SK-A-294; Aanwijzing 1853, p. 21, no. 203, Nooms, called Zeeman (Reinier; born 1612), De Zeeslag voor Livorno (The Battle of Livorno, 1653) (tax.: fl. 400); Amsterdam 1858, p. 102, no. 226.
63 Reinier Zeeman, Sea with Ships, Rotterdam, Museum Boijmans van Beuningen, inv. no. OK 1598. See: Thoré 1858-1860, vol. 2 (1860), p. 308.
64 See on Jan van de Cappelle also the remarks by Thoré-Bürger opp. p. 168.
65 Jan van de Cappelle, The Home Fleet Saluting the State Barge, 1650, Amsterdam, Rijksmuseum, inv. no. SK-A-453; Aanwijzing 1853, p. 7, no. 51, Capelle (Jan van de), Eene Rivier met spiegelend water en eene menigte vaartuigen (A river with mirror-like water and a multitude of vessels) (tax.: fl. 2,000); probably Amsterdam 1858, p. 156, no. 346, as by Simon de Vlieger, dated 1656.