English Ships at Sea/ verso: Study of Lanterns
English Ships at Sea/ verso: Study of Lanterns

English Ships at Sea/ verso: Study of Lanterns

Willem van de Velde the Younger
Leiden 1633 – 1707 London


English Ships at Sea/ verso: Study of Lanterns


Black chalk on paper 143 x 178 mm


Inscribed near a sketch of a ship’s lantern on the verso upper left: andere sijde
Inscribed near a detailed study of another ship’s lantern on the verso at upper right: de
Inscribed near a sketch of a deck of a yacht on verso below: groen


Datable 1670s

Collection E. Brouwer
Private collection, Switzerland


Two English threemasters are sailing close-hauled with flapping flags, blown forward
by a moderate breeze to the faint horizon.

Father and son Van de Velde arguably were the most prolific draughtsmen of the Dutch
Golden Age. Drawing to them was as natural as breathing and Pliny’s well-known
motto ‘nulla dies sine linea’ (not a day without a line) applies to them in a literal sense.

Van de Velde the Younger’s productivity can be explained by his singular talent of
conjuring a truthful scene on the beach or at sea with just a few lines of his pencil or a
dash or two with his brush. This drawing is excellent proof of what he could convey
with such economy of means. It is not clear whether the large ships are merchantmen or
men-of-war. Nor do we know if the artist made this on the spot or from memory. For all
its autonomous artistic merits, a sketch such as the present was made in preparation for
paintings, and could be used over and over again. Evidence of its use in the studio is
provided by the reverse which shows a sketch and a more detailed study of the type of
lantern surmounting the sterns of yachts and spiegelschepen. It also shows a cut-off
sketch of figures on the deck of a yacht. The annotations accompanying these drawings
prove that Van de Velde was working from life here and offer a fascinating glimpse into
the artist’s studio practice.

Willem van de Velde the Younger and his father and teacher Willem van de Velde the
Elder are the most famous marine artists of the seventeenth century. Their depictions of
shipping are artistic highpoints while many of these scenes represent events of massive
importance such as episodes of heroic sea-battles and consequently have shaped the
historical image of the Dutch Golden Age as well.

Whereas Willem van de Velde the Younger is primarily known as a painter, both father and son produced a vast body of
drawings. The greatest holding of van de Velde drawings is nowadays in the National
Maritime Museum, Greenwich, while the second largest public collection is kept in the
Boijmans Van Beuningen Museum in Rotterdam.

Shortly after Willem’s birth the family moved to Amsterdam. He initially trained with
his father but was sent off to Weesp around 1648 to finish his education with Simon de
Vlieger. In 1652 he was back in Amsterdam and married Petronella le Maine but
divorced her only one year later. In 1666 he married his second wife Magdalena
Walraven. By the closing of 1672 Willem and his father had left for England for good,
settling in Greenwich, in the outskirts of London. At first they primarily worked for
King Charles II, who provided them with lodgings in Greenwich and allowed them to
use the Queen’s House as their studio, a handsome building designed by Inigo Jones
and presently part of the Maritime Museum which houses so many outstanding works
by the Van de Veldes. In 1674 a royal warrant stipulated that both artists were to receive
an annual pension of one hundred Pounds while to were also to receive payment for
every painting individually. From the outset, the Van de Veldes also worked for the
king’s brother, the future James II, who continued patronizing them after his brother’s
death in 1685. In 1691 the Van de Veldes settled in Westminster, London, where they
remained until their deaths. They are buried alongside each other in the church of St
James, Piccadilly. Willem the Younger had two sons, Willem III and Cornelis, who also
became marine painters and continued to work in their father’s style. Van de Velde also
had some English followers. Namely Peter Monamy and Robert Woodstock, who
further contributed to Van de Velde’s fame by producing versions and imitations of the