Dutch Ships in a Sea Battle c.1690, ...

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Oil on canvas in a beautiful painted tortoiseshell frame, bearing a brass nameplate. The canvas has been reduced in size at some time.
Of the Dutch Golden Age, this is a fine marine painting, full of action and extremely accurate in its depiction of the vessels involved. The unknown artist, a Follower of Storck, has captured his style very well. The details are almost of a miniaturist's skill.

ABRAHAM STORCK (or Sturckenburch) (bapt. 17 April 1644 in Amsterdam – buried 8 April 1708), was a Dutch painter, who enjoyed a reputation for his marine paintings, topographical views and Italianate harbour scenes. Storck was an outstanding draughtsman too.
His father was the painter Jan Jansz Sturck (or Johannes Storck) (1603-1673), from Wesel; his mother was Teuntje (Apolonia) Jacobs. The couple married in 1628. Storck had two brothers, who were also painters using the name Sturckenburch until c. 1688 after which they started calling themselves Storck or Sturck. It is likely they were all trained with their father in the family workshop and joined the local Guild of Saint Luke, otherwise it was impossible to sell any painting.
Around 1666 Storck set up his own workshop producing naval, harbuor scenes as well as landscape paintings and cityscapes. In 1670 he travelled with his brother Jacob and worked in Germany. In 1694, being 49 years old, he married the widow Neeltje Pieters van Meyservelt. At the end of his life he lived on Kattenburg near the harbour.
Storck's marine and river scenes were influenced by the two Willem van de Veldes (the elder and the younger), Ludolf Bakhuizen and by Jan Abrahamsz Beerstraaten.
He depicted ships' rigging and technical details with considerable accuracy, which likely shows the influence of the van de Veldes.

SIZE: 28 x 31.5 x 2.5 inches including the frame.
PROVENANCE: Sotheby's, London, April 29, 2010. Sold for £9,000.
Deceased estate in Buckinghamshire.

A Squadron of Dutch Warships leaving Harbour ...

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Oil on oak panel in finely carved giltwood frame.

The artist captures the beauty of these heavily gunned ships of the line as they sail with the shore wind, their sterns carved with the elaborate gilt 'gingerbreading' fashionable in the 17th century.
Large warships were the most powerful weapon on earth, with the fire power of an artillery regiment.

During the 17th century the Dutch Republic was involved in a number of wars, many of them at sea. The main goal of the Dutch navy was to protect shipping lanes all over the world and, if need be, to repel a naval invasion of Dutch territory; the Dutch fleet was the largest of the world at the time and was a formidable force.

JAN (orJohannes) PEETERS I (24 April 1624 – 1677) was a Flemish Baroque painter who specialized in seascapes and shipwrecks, known as Zeekens (small seascapes).
Peeters was born and died in Antwerp. He was taught to paint by his brothers Gillis Peeters (1612–1653) and Bonaventura Peeters (1614–1652). He became a master of Antwerp's Guild of St. Luke in 1645, and like his brother Bonaventura, he specialized in dramatic scenes with dark billowy clouds.
In 1654 he married Catherine Buseliers. In 1659 he spent several months touring the Netherlands. He had two children, Jan Frans and Isabella.

This painting belonged to SIR PATRICK LEIGH FERMOR, DSO, OBE (1915-2011) until his death aged 96.

Paddy, as he was always known,was a British author, scholar and soldier, who played a prominent role behind the lines in the Cretan Resistance during World War II.
He was widely regarded as "Britain's greatest living travel writer", with books including his classic 'A Time of Gifts' (1977). A BBC journalist once described him as "a cross between Indiana Jones, James Bond and Graham Greene."

During the German occupation, he returned to Crete three times, once by parachute. He was one of a small number of Special Operations Executive (SOE) officers posted to organise the island's resistance to German occupation. Disguised as a shepherd and nicknamed Michalis or Filedem, he lived for over two years in the mountains. With Captain Bill Stanley Moss as his second in command, Leigh Fermor led the party that in 1944 captured and evacuated the German Commander, General Heinrich Kreipe. The Cretans commemorate Kreipe's abduction near Archanes.

Moss featured the events in his book 'Ill Met by Moonlight: The Abduction of General Kreipe' (1950). It was later adapted as a film by the same name, directed/produced by Michael Powell and Emeric Pressburger and released in 1957. In the film, Leigh Fermor was portrayed by Dirk Bogarde.

Leigh Fermor's funeral took place at St Peter's Church, Dumbleton, on 16 June 2011. A Guard of Honour was provided by serving and former members of the Intelligence Corps, and a bugler from the Irish Guards sounded the Last Post and Reveille. Leigh Fermor is buried next to his wife in the churchyard at Dumbleton.

SIZE: 25 x 42.5 inches inc. frame.
PROVENANCE: Collection of Sir Patrick Leigh Fermor DSO, OBE.

Dutch Shipping in Choppy Waters c.1650, by ...

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Oil on marouflaged panel.

This excellent painting of a group of Dutch vessels is typical of the work of this artist.
Claes Claesz. Wou was born in Amsterdam in 1592 and died there in 1665. His work is quite rare as few of his paintings have survived.
Like many artists at that time he had additional sources of income; in his case as a dealer in tobacco and working as a panel maker. Many other artist in Amsterdam bought their panels from him.

Wou was a painter very much in the Flemish tradition, his early works being strongly influenced by van Eerrtvelt, Vroom and van Wiringen; but he is better known for his later works which show the influence of Jan Porcellis and Simon de Vliegher. Paintings of this period are often three of four ships, usually in choppy water or a storm, and are characterised by the typical use of grey and brownish tones.

SIZE:25 x 34 inches inc. frame.
PROVENANCE: English Private Collection.

British warships off a Mediterranean coast c.1675; ...

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Oil on canvas in a reproduction 17th century style walnut frame.

A good seventeenth century marine painting of a group of British men-of-war of a rocky Mediterranean coast.
The artist captures the beauty of the heavily gunned ships of the line with their sterns carved with the elaborate gilt 'gingerbreading' fashionable at this time.
These warships were the most powerful weapon on earth, with the fire power of an artillery regiment.

ADRIAEN VAN DEEST (1655-1704) was born at the Hague, the son of Jeronymus van Diest, a painter of sea-pieces, by whom he was instructed in the art. When he was seventeen years old he moved to London, where he was employed by Granville, Earl of Bath, for whom he painted several views and ruins in the west of England.
He also painted portraits, but did not meet with much encouragement, although his pictures possess considerable merit; as a proof of which Horace Walpole states that there were seven pictures by Van Diest in Sir Peter Lely's collection. He etched several landscapes from his own designs, in a slight, masterly style. Van Diest died in London in 1704.

SIZE: 31 x 49.5 inches inc. frame.
PROVENANCE: Berkshire Private Collection.
Verso: framers's labels.

A still life trompe l'oeil c.1850; Manner ...

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A trompe l'oeil still life of an engraving titled "A Storm", on a wooden background. Inscribed faintly 'A Ship in Distress, Breaking...…………. Painted by F...… …. 1850".
This is a remarkable painting, truly an 'eye deceiver'; it seems that a tattered print is attached to the wooden boards by sealing wax, and as a further touch of verisimilitude, a fly crawls on the boards.
The painting has an excellent surface and the canvas has never been lined. The frame is a later one, but suits the painting perfectly.

STRICKLAND LOWRY (c.1737-c.1785) was a portrait painter and engraver. Born at Whitehaven, said to have died at Worcester. He practised also in the Midlands where he built up a reputation. He also worked in Dublin and Northern Ireland.
SIZE: 23.25 x 20 inches including the frame.
PROVENANCE: Private Collection, Salisbury, Wiltshire. VERSO: an old Christie's stencilled number, and the inscription 'Nov.11, 55'.

An English Ship and Other Vessels in ...

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Oil on canvas in a fine carved and giltwood 18th century frame.
A superb and accurate rendition, contemporary or nearly contemporary, of the original by Willem van de Velde the Younger, which is now in the National Maritime Museum at Greenwich. It is described as being painted in the "mid 17th century to early 18th century", and continues "An English ship shown in a gale, together with other shipping. To the left is a small ship with men in the rigging shown furling the sail. In the right foreground a Dutch fishing craft known as a hoeker is bringing down her sail. In the left middle-distance is a ship with a number of figures on deck and several more in the rigging. In the right background is a ship at anchor. She has a pendant at the main and a flag at the fore. There are several other ships at anchor in the distance all riding out the storm. Although there is some blue sky immediately above the ship, the rest of the sky is filled with dark and heavy storm clouds."

WILLEM VAN DE VELDE the Younger (1633-1707) was a Dutch marine painter. son of Willem van de Velde the Elder, also a painter of sea-pieces, Willem van de Velde, the younger, was instructed by his father, and afterwards by Simon de Vlieger, a marine painter of repute at the time, and had achieved great celebrity by his art before he came to London. By 1673 he had moved to England, where he was engaged by Charles II, at a salary of £100, to aid his father in "taking and making draughts of sea-fights", his part of the work being to reproduce in colour the drawings of the elder Van de Velde. He was also patronized by the Duke of York and by various members of the nobility.
He died on 6 April 1707 in London, England, and was buried at St James's Church, Piccadilly. A memorial to him and his father lies within the church. Most of Van de Velde's finest works represent views off the coast of Holland, with Dutch shipping. His best productions are delicate, spirited and finished in handling, and correct in the drawing of the vessels and their rigging. The numerous figures are tellingly introduced, and the artist is successful in his renderings of sea, whether in calm or storm. The ships are portrayed with almost photographic accuracy, and are the most precise guides available to the appearance of 17th-century ships.
There are a number of van de Velde's marine paintings in the Wallace Collection, London, including "The Embarkation of King Charles II at Scheveningen, 1660".
SIZE: 32 x 41.25 x 2.5 inches including the frame.
PROVENANCE: Collection of a Lady, Dulwich.

A Riverside Town c. 1780; Dutch School. ...

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Oil on canvas in the original giltwood frame.

A charming Dutch painting in the Italianate style that was fashionable with Dutch artists from the mid 17th century into the 19th. Inspired by the sophisticated compositions of the Italian masters this, as yet unknown, artist has filled his scene with warm, Mediterranean light.
Italianate landscapes were the most influential and highly regarded.
From the 17th century a trip to Italy was considered an important part of an artist's training. Dutch painters went there to study the landscape, ancient ruins and sculptures, and the unique light. On their return to the Netherlands, many of these artists continued to paint Italianate landscapes, others adapted what they had learnt to suit the Dutch taste for religious and secular paintings.

SIZE: 17.5 x 20.5 inches inc. frame.
canvas: 14 x 16.5 inches.
PROVENANCE:Private Collection, Oxford.

Portrait of H.M.S Royal Adelaide 1837; Attributed ...

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Oil on canvas in a gilt frame.

Bears signature and date 1837, oil on canvas.

The first rate warship Royal Adelaide was laid down in Plymouth Dockyard as the London in May 1819. A larger version of Nelson's Victory, she displaced 4,122 tons, measured 198 feet in length with a 54 foot beam, and mounted 104 guns on three decks.
She was one of the earliest Royal Navy ships to have planking right round the bow at the height of the forecastle. However attempts to strengthen the stern in a similar way meant depriving the officers of their large windows and glass doors and met with indignant opposition. They objected to being deprived of their comfort, so the windows and glass doors remained open to devastating broadsides from astern.
Originally called HMS London she was nine years on the stocks before being launched on 28th July 1828 in the presence of the Lord High Admiral, the Duke of Clarence (later King William IV), as HMS London, she was christened by his Duchess and immediately renamed HMS Royal Adelaide in honour of the future Queen Adelaide.
Spending most of her career as Port Admiral's flagship at Plymouth, she was transferred to Chatham in 1891, where she served as Receiving Ship until 1904, and was finally broken up at Dunkirk in 1905.

JOSEPH WALTER (1783–1856) was an English marine painter in oils and watercolour, working at Bristol and Portishead. He gained notice for his portrayals of Brunel's steamships Great Western and Great Britain.

Walter was born in Bristol and died there, but was living in Portishead at the time that he exhibited his first known work, 'View from Portishead towards Wales' (1832). This was at the Bristol Institution in 1832, in the first exhibition of the Bristol Society of Artists. He is not known to have been associated with the Bristol School of artists in the 1820s. However surviving sketches suggest that he did take part in the revival of the school's sketching meetings in the 1830s. His drawing technique shows similarities to that of the leading Bristol School artist Samuel Jackson.

Walter's subjects included shipping at Bristol, Southampton, Malta and Saint Lucia. He also portrayed Dutch vessels in the style of the Dutch artists Van de Velde and son, for example in Dutch vessels in a fresh breeze (c. 1851). He exhibited at the Royal Academy from 1837, and also at the Society of British Artists.

SIZE: 32.5 x 44 inches inc. frame.
PROVENANCE:*London, Sotheby's, 5th December 1923, lot 139 as by J. Walter, from the Maude Collection.
*Bought by the previous owner's father in the late 60s from a dealer as an autograph work.

Verso: a 1986 restorer's label. (The painting was conserved by our restorer in December 2015)

Our thanks to Michael Naxton for his expertise.

Still life of Fruit, Flowers and a ...

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A large oil on canvas, painted at the turn of the 19th century, in the Dutch 17th century manner.
The painting is signed, but only the first name 'Karl' is legible. Although not yet identified, it is obvious that the artist was highly skilled, as this is a fine quality work.

Northern Renaissance artists popularized still life iconography with their flower paintings. These pieces typically show colourful flora “from different countries and even different continents in one vase and at one moment of blooming” (Metropolitan Museum of Art) and often do not feature other subject matter. These paintings rose to prominence in the early 17th century, when these artists grew increasingly interested in creating realistic studies of everyday items.

The height of still life painting came in 17th century Holland. Artists such as Jan Brueghel, Pieter Clausz, and others, painted opulent, highly detailed, and realistic images of flower bouquets and tables laden with lavish bowls of fruit and game. These paintings celebrated the seasons and reflected the era's scientific interest in the natural world. They also served as status symbols and were highly sought after.

The inclusion of parrots with still-life paintings is interesting, because it connects parrots to the material world, wealth, and trade. As an exotic creature from non-European lands, parrots were highly prized during the colonial period; and it wasn’t just the live birds that were valued, in the colonial era the plucked feathers of parrots were valued too.
SIZE: 50 x 39 inches including the frame.
PROVENANCE: Northern England.
CONDITION: The painting has an old V-shaped damage, about 18 inches in length at its longest point; this is not visible all the time, but shows up in some angles and lights. This can be seen in the last image. Despite this, the painting is still a beautiful and highly decorative item, and is being offered at a fraction of the price it would command if undamaged. A large quality item at little cost.

SOLD....An English Flagship off a Port c.1705, ...

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Oil on canvas in giltwood frame, signed lower left.

A fine marine painting by Stranover depicting a squadron of English warships off a Continental port.
In the background can be seen a beached vessel being careened and, judging by the smoke, re-tarred.
The artist captures the beauty of the heavily gunned ship of the line as she heels with the shore wind, her stern carved with the elaborate gilt 'gingerbreading' fashionable around 1700.
These warships were the most powerful weapon on earth, with the fire power of an artillery regiment.

TOBIAS STRANOVER (Stranovius) (1684-1756) was a Transylvanian Saxon painter in England, born in Sibiu.
Stranover arrived in England in 1702 in the company of the English Ambassador to Constantinople, William Paget, who had met him in Transylvania. He studied painting under the mastership of his father-in-law in London. He worked in the Netherlands, Hamburg, Dresden and London.
Stranover did very well in England and it was said, soon after his arrival, that he "already excels amongst painters".
His speciality became still lives and flower paintings but this seascape, one of his earliest works, shows he was equally talented as a sea painter.
According to most references Stranover died 'after 1724' or 'after 1731', however, a letter from his brother-in-law mentions him alive in 1733 and on p.396 of the London Magazine of 1756 a laudatory poem dedicated to him mentions the exact date of his death: February 26, 1756.

SIZE:54 x 36 inches inc. frame.
PROVENANCE: Sir John Tomlinson Hibbert KCB (1824-1908) of Hampsfield, Lindale, nr. Grange over Sands.
Thence by descent through the family to the present day.
LITERATURE: E.H.H. Archibald 'Dictionary of Sea Painters'. Illustrated p.265, plate 134. (see Image 5).

Portrait of a Royal Navy warship; attributed ...

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Oil on canvas in a simple gilt frame.

The Royal Navy warship, a Fourth Rate, is shown arriving at the fleet anchorage, whilst in the background a three decker ship-of-the-line announces her arrival.
Although the name of the vessel is lost, this is still a fine ship portrait, painted with the accuracy and attention to detail typical of Robert Woodcock.

ROBERT WOODCOCK (bap. 9 October 1690 – died 10 April 1728) was an English marine painter, musician, and composer who lived during the Baroque period. He is notable for having published the earliest known flute concertos, and the earliest known English oboe concertos.
He was baptised at Chelsea Old Church on 9 October 1690, the son of Robert Woodcock (1642–1710) and Deborah Littleton. He grew up in Shrewsbury House, Chelsea, London, where his parents ran a girls school. His family was fairly affluent, and his father was described as a gentleman, indicating good social position.
In 1714, Robert junior married Ayliffe Stoaks, by whom he had several children. According to a contemporaneous biographical account, he worked as a civil servant … a naval clerk. Keenly interested in ships he made many drawings of them. He resigned his government post around 1723 to become a professional artist, although he had started to paint in 1720. Later in life he suffered acutely from gout, which eventually was the cause of his death, at the age of 38, on 10 April 1728. He is buried at Chelsea Old Church.

As a marine painter, specialising in the painting of ships at sea, his style was strongly influenced by the Dutch painter Willem van de Velde the Younger, whose works he assiduously copied. With only a five year life-span as a painter in oils, it is not surprising that his works rarely turn up. He painted about 40 copies of van de Velde's work, which are often mistakenly attributed to Peter Monamy. He was also an accomplished musician and composer, performing on the oboe, recorder, and flute. He was perhaps most skilled on the flute, as in 1776, nearly 50 years after his death, he was described by John Hawkins as "a famous performer on the flute."

Before his untimely death his paintings were developing in confidence and originality although still influenced by the van de Veldes. There is one of his paintings in the Paul Mellon Collection at Yale, and one in the National Maritime Museum at Greenwich.

SIZE: 52.75 x 42.75 x 1 inches including the frame.
PROVENANCE: French private collection Verso: old French storage label.
London private collection.