- 102
Abraham Storck
Estimate
20,000 - 30,000 GBP
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Description
- Abraham Storck
- A capriccio view of an italianate harbour with figures on the quay beneath classical buildings
- signed and dated lower left: A: Storck/ Fecit/ Ao 1680
oil on canvas
Provenance
Anonymous sale ("The Property of a Nobleman"), New York, Sotheby's, 15 October 1987, lot 76, for $92,500.
Condition
"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's.
The painting is lined and the paint surface is stable. Under U-V light extensive and substantial restoration to the sky can be seen covering heavily abraded original paint . There is less interference to the figures and architecture but they have seen augmentation.
Modern black moulded frame with gold sight edge, minor chips."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
Catalogue Note
This is the prime version of a composition repeated by Storck on at least two other occasions; one, dated 1681, appeared in the 1920 sale of A. von Grand Ry of Château Thal, Aix-la-Chapelle,1 and the other, undated, is recorded in the Archives of the National Gallery, Washington.2
Although Storck is not thought to have actually visited Italy, scenes such as this evoke the atmosphere of the mediterranean port, with bustling merchants bathed in a warm afternoon light. A steady trade had emerged between the northern countries and Italy during the 17th century and indeed many of Storck's peers, such as Jan Asselijn and Jan Weenix, visited Italy and brought their experiences back to The Netherlands in the form of their paintings.
Storck's harbour scenes are never topographical representations of a particular place, but rather theatrical stage sets, with imaginary buildings forming the backdrop to a hive of activity, and those in this painting are no exception. While he is perhaps best known for his depictions of yachts and naval vessels fighting against a stiff breeze on the Amstel river, Storck's imagined harbour scenes can be considered precursors of the great capricci of the Italian 18th century.
1. The sale took place in Cologne, Lempertz, 11-13 February 1920, lot 670. It then entered the collection of Heinrich C. Nebel who sold it soon after, Darmstadt, Bangel, 25 October 1921, lot 32.
2. Information on Witt Library Mount.
Although Storck is not thought to have actually visited Italy, scenes such as this evoke the atmosphere of the mediterranean port, with bustling merchants bathed in a warm afternoon light. A steady trade had emerged between the northern countries and Italy during the 17th century and indeed many of Storck's peers, such as Jan Asselijn and Jan Weenix, visited Italy and brought their experiences back to The Netherlands in the form of their paintings.
Storck's harbour scenes are never topographical representations of a particular place, but rather theatrical stage sets, with imaginary buildings forming the backdrop to a hive of activity, and those in this painting are no exception. While he is perhaps best known for his depictions of yachts and naval vessels fighting against a stiff breeze on the Amstel river, Storck's imagined harbour scenes can be considered precursors of the great capricci of the Italian 18th century.
1. The sale took place in Cologne, Lempertz, 11-13 February 1920, lot 670. It then entered the collection of Heinrich C. Nebel who sold it soon after, Darmstadt, Bangel, 25 October 1921, lot 32.
2. Information on Witt Library Mount.