SANDRA (Dutch, 17th Century)
Numerous Ships in a Dutch Harbor
signed Sandra in the lower right
oil on canvas
18 ¼ x 21 ½ inches (47.5 x 55.5 cm)
PROVENANCE
Anonymous sale, Christie’s, London, June 8, 1951, lot 168,
(as by R. Sandra) where purchased by
Lovat
Kunsthandel P. de Boer B.V., Amsterdam
Beginning around 1645 a new type of marine painting emerged categorized as a “naval parade”. Such works featured calm waters, distant reflections, and changeable skies, in a composition that emphasized the stark verticality of the boats’ sails and masts contrasted against the flatness of a harbor.[1] This theme is powerfully realized in our work.
The magnificence of the Dutch fleet is on full display “By the mid seventeenth century the Dutch were the greatest sea power in the world. Their ships dominated the oceans, ensuring not only the military security of the republic but also its prosperity”.[2] Here ships are visible as far as the eye can see giving the impression of a boundless sea. A rowing boat full of passengers crosses the center foreground. Not commonly depicted is the vignette on the right side of seamen tarring the hull of a ship with flames, while billowing smoke adds to the spectacle. Overhead the crescendo, in a dramatic play of light and shade enhanced by a deep blue sky, plays out.
The evident technical virtuosity on display in this painting adds to the mystery as to why the artist’s history is undocumented. Obviously professionally trained by a Master, no other work by Sandra is known. It is believed that “the paintings that survive from the (so-called) Dutch Golden Age represent perhaps one percent of the total number produced”.[3] With this in mind the invaluableness of Sandra’s harbor view is defined.
[1] Sophie Carr, “Jan van de Cappelle” in Turmoil and Tranquility, National Maritime Museum, Greenwich, London, 2008, p.88.
[2] Simon de Vlieger, Estuary at Day’s End” on National Gallery of Art DC nga.gov website.
[3] Klaske Muizelaar & Derek Phillips, Picturing Men and Women in the Dutch Golden Age, Yale University Press, New Haven & London, 2003, pp. 1, 184, fn. 2.