Jan van de Cappelle

(Amsterdam 1624-1679)

Single-Masters near a shore in a calm

Footnotes

Provenance
Collection of a European noble family, since 19th Century, by whom offered
Sale, Christie's, London, 10 December 2003, lot 29 (sold for £475,650)
Private Collection, London, 2003-2008
With Johnny van Haeften Gallery, London, where purchased by
Mr and Mrs Anthony Inder Rieden
Collection of a Family Trust

Exhibited
The Hague, Bredius Museum, 10 December 2019 - 1 March 2020

Literature
G. de Beer, The Golden Age of Dutch Marine Painting. The Inder Rieden Collection, Leiden, 2019, vol. 2, cat. no. 37, pp. 606-617, ill

This lyrical, atmospheric coastal scene by van de Cappelle epitomises the type of composition for which he is most highly prized and which demonstrates his abilities as one of the most accomplished Dutch marine painters of the 17th century. It can be dated on stylistic grounds to the early years of the 1650s when he was in his late twenties, painting what are now considered to be his greatest masterpieces; the dating is corroborated by the format of the signature - Wolfgang Stechow suggests that he signed his works 'j v capelle', (as here), only till 1650-51 after which he used the spelling 'cappelle'. What is all the more remarkable for someone of his level of virtuosity is that he did not live from the proceeds of painting; he was born into a well to do family and was described by his fellow artist Gerbrand van den Eekhout as 'Johannes van de Cappelle, self-taught for his own sheer pleasure'. His command of these calm, atmospheric sea pieces suggests that he must have spent time in the studio of Simon de Vlieger, despite what van den Eekhout says, although the silvery tones of the older artist's coastal views are softened into a warmer, more golden colouring by van de Cappelle.

The present painting shows an unidentified stretch of coast in a dead calm, the flat sea in sharp contrast to the billowing cumulous clouds overhead in a sky which occupies three quarters of the composition. As usual the stretch of coast he selects has few identifying features, the geography really just providing a framework for his supremely-observed depiction of sky and sea. The sand banks in the foreground and the architectural verticals of the sails give structure, but van de Cappelle's real interest lies in the subtle depiction of atmospheric effects, the dramatic tension between the brooding sky with dark clouds threatening rain, and the calm, mirror-like water below. The foreground light is beautifully rendered: the glassy sea reflects the kaag near the shore and a shaft of light falling from the right casts a diagonal shadow across its bow. What is remarkable is just how painterly his technique can be, as we see in the figures on the kaag and the rumpled white sail that has collapsed onto its bow.

As few as 150 works have been ascribed to van de Cappelle with certainty, many of which are now in museums. His output appears to have tailed off by the late 1650s and only one painting, now in the collection of the National Gallery, London, is dated to the 1660s. The likely reason for this is the increasing demands made on him by the highly successful family business. The van de Capelles were crimson cloth-dyers, and extremely successful, but if Jan's growing responsibilities prevented him from painting, they repaid him with the wealth that enabled him to indulge his passion for collecting. By the time of his death in 1679 he was one of the wealthiest men in Amsterdam, his estate included a fortune of over 90,000 guilders and eight houses. He also owned a huge art collection with over 200 paintings by artists such as de Vlieger, Jan van Goyen and Jan Porcellis (whose paintings were clearly an influence) and over 7000 drawings including more than 500 by Rembrandt, presumably bought from the latter's insolvency sales.

Willem van de Watering confirmed the attribution to van de Capelle at the time of the Christie's sale. He also noted that 'the form of the signature is that practised by the artist in about 1650/1, with which the style of the picture is in accordance' (private letter, 17 October 2003).