Dutch School, Ships in a Storm, oil on canvas, Netherlands (?), 2nd half of the 18th century.
3600,00 zł
This painting depicts an atmospheric seascape with ships on a tumultuous sea. The composition centers on a large sailing vessel, shown bow-on, occupying the middle ground. Its sails are furled, and the ship is heavily listing under the force of the wind and waves, which crash against the hull, creating high sprays of foam. The dramatic struggle against the elements is intensified by a torn jib, the triangular sail at the front of the ship. In the background, to the left and right, two other vessels are visible, battling the storm. The sky is covered by heavy storm clouds, interspersed with streaks of lighter clouds. The light is diffused and subdued, enhancing the sense of unease. Birds soar low over the frothing surface of the sea. Dark, cool colors (shades of blue, gray, black) with hints of green dominate, contrasting with the foamy waves and a few bright clouds. Both in terms of composition and mood, the painting aligns with the tradition of Dutch Baroque marine painting. The artwork is presented in an old Dutch-style frame, shellac-coated, which accentuates its Baroque character.
Sprzedane
| Weight | 4,3 kg |
|---|---|
| Dimensions | 55 × 61 cm |
| Type |
Image |
| Form |
Seascape |
| Kolorystyka |
Blue ,Dark Green ,Gray ,White |
| Technika |
Oil on canvas |
| Czas powstania |
2nd half of the 18th century |
| Era |
Baroque |
| Kraj pochodzenia |
Netherlands (?) |
| State of preservation |
Craquelure appropriate for its age, retouching in the upper left corner, overall very good condition |
Related products
Egbert van Heemskerck I (1634 – 1704) – attributed, Scene with Soldiers in a Tavern, oil on canvas, Netherlands, second half of the 17th century.
Egbert van Heemskerck I (1634 Haarlem – 1704 London) – attributed, Scene with Soldiers in a Tavern, oil on canvas, relined on panel, framed.
The painting, created in the second half of the 17th century, depicts an intimate yet expressive genre scene with a satirical-political undertone, set within the austere interior of a 17th-century Dutch tavern. The composition centers on a group of five men intently analyzing a document in the form of a large book spread out on a barrel, which serves as a table.
One of the men wears a distinctive metal soldier's helmet (a cabasset or morion type), while another clearly has a rapier attached to his side. The presence of these props indicates that the protagonists of this scene are not ordinary peasants, but rather soldiers, veterans, or members of a local civic militia (the so-called schutterij). The document they are studying thus gains a military-political context; it could be news from the front (a broadsheet), a mobilization order, a royal decree, or a letter of safe conduct, which they are suspiciously verifying.
The artist masterfully employs caricatured facial features, exposing human flaws and creating an ironic narrative about "armchair strategists" or "weekend soldiers," haphazardly dressed and armed. Egbert van Heemskerck delighted in showcasing this contrast for comedic effect. For the painter, such individuals were a brilliant satirical subject – here is a group of common craftsmen or villagers attempting to impersonate great military strategists. One has donned an old helmet, another has strapped on an oversized weapon, yet their attire and physiognomy betray that they are far from a regular army. Each character represents a different emotional state – from deep concentration and suspicion to violent gesticulation (the figure in the light shirt on the left). The composition relies on contrasting, localized chiaroscuro. Light effectively glides across the texture of the paper, drawing hands and grimaces of the characters from the darkness, and reflecting off the metallic surface of the helmet, showcasing the painter's technical skill.
The reverse side bears traces of old paper ownership or auction labels, which once protected the wood from oxidation but have since crumbled. The condition of the support indicates that the relining process onto period wood was carried out a very long time ago (likely at the turn of the 18th and 19th centuries).
Dimensions: 31 cm (width) x 21 cm (height)Epitaph portrait of Jan Czapski (1699-1742), oil on copper, Poland, 1740s.
Govert Camphuysen (1623/1624-1672) – attributed, Landscape with cattle grazing in front of a hut, oil on board
In front of the village thatched hut, sheep, a cow and a goat are grazing. Next to it, a villager is sleeping under a tree. To the left of the composition, a second scene is visible: a man leading a bull over a small bridge over a stream. In the background is a landscape with trees and gentle hills, and the sky occupies a large part of the painting, building the mood of the whole scene. What draws attention is the exquisite way in which the animals are depicted. This was a specialty of Camphuysen, whose work was inspired by the style of Paulus Potter. Warm, earthy colors dominate - browns, ochres, dim greens and broken yellows. The light is soft, diffused, as if in the early morning or towards evening. The sky has shades of gray, beige and soft pink, suggesting changing weather or impending dusk. The contrast between the bright sky on the left and the darker, more saturated part with the cottage on the right gives the image depth and balance.
Hendrik van Steenwijk II (ca. 1580 – 1649) – circle, Interior of a Gothic church, oil on board, Flemish school, 17th century.
The painting depicts the interior of a Gothic church, executed in the Flemish school of the 17th century, in the circle of Hendrick van Steenwijk i.e. one of the pioneers of perspective painting. The composition, built on an axis leading towards the main altar, shows a monumental interior with pillars, cross-ribbed vaults and side chapels. Figures of the faithful and clergy are visible in the space, introduced to emphasize the scale of the architecture and the mood of concentration.
The painting was made with oil technique on board, in typical Flemish school style. The frame is original, wooden, veneered, with preserved gilt edge.
The composition refers to the solutions used by Hendrick van Steenwijk the Elder and Younger, as well as Pieter Neefs and Bartholomeus van Bassen, developing the genre of architectural painting in Antwerp and Delft.
Nathan Gutman (1914 Warsaw – 1990 Paris), Female Nude, oil on cardboard, Paris (?)
Portrait of a nobleman (Sarmacki portrait), oil on canvas, Poland, 18th century.
The portrait, originally rectangular and later cut down to an oval and relined, depicts an elderly man in noble (szlachecki) attire characteristic of the 18th century. The figure is shown half-length, facing frontally with a slight turn of the torso and one hand resting on the hip, which lends the composition a sense of dignity and static elegance.
The face, with mature features such as a high forehead, short, thinning grey hair, and subtle wrinkles — is rendered realistically, with attention to individual physiognomic traits. The gaze is calm and restrained, conveying charisma and composure, as well as an established social standing. This is further emphasized by the impressive noble (szlachecki) attire: a żupan embroidered with gold thread, a dark blue kontusz lined with red fabric, fastened with large gold buttons, and a wide, light-colored sash tied around the hips.
The painting is an excellent example of the so-called “Sarmacki portrait”, emphasizing social class affiliation, wealth, and official position. It stands out for its solid artistic craftsmanship, naturalistic treatment, and the mature age of the sitter.
Stanislaw Gibinski (1882-1971), Winter scene “On the way to church”, watercolor and gouache on cardboard, Poland, ca. 1930-1940
Symeon Shimin (1902–1984), Gum Chum / This Mortal Coil, oil / mixed media on canvas, United States, circa 1945-1955
The presented canvas is a museum-quality easel painting by the esteemed American painter and muralist of Jewish-Russian descent, Symeon Shimin. The painting is an outstanding example of post-war socially engaged expressionism, combining features of narrative painting with poster-like persuasion. Signed lower right: S. Shimin (artist's signature, authenticated)
The work is characterized by an extremely condensed, claustrophobic composition with a powerful emotional charge. The foreground is dominated by the expressively deformed figure of an elderly man captured in a theatrical, accusatory gesture – his hand points directly at the viewer. This technique, intensifying the cinematic drama, directly refers to Shimin's rich experience in creating iconic political and film posters for Hollywood (the artist was, among others, the author of the original poster for the 1939 film "Gone with the Wind"). In the background, in a dark shadow, the melancholic face of a second sage emerges. The entire piece is rendered in a stark, earthy, monochromatic palette dominated by deep browns, blacks, and muted blue garments, with a masterful use of chiaroscuro.
Dimensions: 82.5 x 59.5 cm (with frame 85 x 62 cm)
