Jacob Knyff Sold at Auction Prices

b. 1639 - d. 1681

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    • Jacob Knyff (1639-1681) The British Fleet off Sheerness oil on canvas
      Jun. 05, 2022

      Jacob Knyff (1639-1681) The British Fleet off Sheerness oil on canvas

      Est: $40,000 - $60,000

      Jacob Knyff (1639-1681) The British Fleet off Sheerness oil on canvas Provenance: Acquired by Sir Raymond and Lady Burrell, via Robert Holden London, at Sotheby’s London British Paintings (1500-1850) , 9 July 1986 Lot 11 for 27,460.00 pounds ( including commissions)

      Artvisory
    • JACOB KNYFF (HAARLEM 1638-1681 LONDON) The Royal Yacht Cleveland with
      Apr. 12, 2017

      JACOB KNYFF (HAARLEM 1638-1681 LONDON) The Royal Yacht Cleveland with

      Est: £20,000 - £30,000

      JACOB KNYFF (HAARLEM 1638-1681 LONDON) The Royal Yacht Cleveland with King Charles II aboard, arriving to inspect the flagship at the Nore oil on canvas, in a carved and gilded frame 48.5 x 79cm (19 1/8 x 31 1/8in).

      Bonhams
    • JACOB KNYFF
      Jul. 06, 2011

      JACOB KNYFF

      Est: £100,000 - £150,000

      THE PROPERTY OF A LADY OF TITLE HAARLEM 1638 - 1681 LONDON CHARLES II AND JAMES, DUKE OF YORK, ON BOARD H.M.S. TRIUMPH, WITH THREE ROYAL YACHTS OFF DOVER  oil on canvas 120.5 by 174 cm.; 47 1/2 by 68 1/2 in.

      Sotheby's
    • Attributed to Jacob Knyff (Haarlem 1638-1681 London)
      Nov. 04, 2010

      Attributed to Jacob Knyff (Haarlem 1638-1681 London)

      Est: £1,000 - £1,500

      Attributed to Jacob Knyff (Haarlem 1638-1681 London) A squadron of the Red at sea, with the flagship heaving-to for the arriving dignitaries oil on canvas, in a carved and gilded frame 16 x 23½ in. (40.6 x 59.8 cm.)

      Christie's
    • Studio of Jacob Knyff (Haarlem 1638-1681 London) The arrival of Queen Mary in the royal yacht Mary (II) at Greenwich on 12th February 1689,
      Jul. 07, 2010

      Studio of Jacob Knyff (Haarlem 1638-1681 London) The arrival of Queen Mary in the royal yacht Mary (II) at Greenwich on 12th February 1689,

      Est: £6,000 - £8,000

      The arrival of Queen Mary in the royal yacht Mary (II) at Greenwich on 12th February 1689, with the King's House and the Royal Observatory beyond oil on canvas 63.2 x 76.6cm (24 7/8 x 30 3/16in).

      Bonhams
    • Circle of Jacob Knyff (Haarlem 1638-1681 London) English shipping foundering in stormy seas
      Oct. 28, 2009

      Circle of Jacob Knyff (Haarlem 1638-1681 London) English shipping foundering in stormy seas

      Est: £6,000 - £8,000

      English shipping foundering in stormy seas off a rocky coastline oil on canvas 92.6 x 127.2cm (36 7/16 x 50 1/16in).

      Bonhams
    • JACOB KNYFF 1638-1681 AN ENGLISH SHIP AND OTHER SHIPPING OFF CASTLE CORNET, GUERNSEY
      Jul. 05, 2005

      JACOB KNYFF 1638-1681 AN ENGLISH SHIP AND OTHER SHIPPING OFF CASTLE CORNET, GUERNSEY

      Est: £40,000 - £60,000

      oil on canvas LITERATURE AND REFERENCES F.B. Cockett, Early Sea Painters 1660-1730, 1995, p.48, no. 9, illus. plate 7 CATALOGUE NOTE The imposing Castle Cornet was built in the thirteenth century to guard the safe anchorage of St Peter Port in Guernsey. By the fifteenth century much of it had been rebuilt, and it was further altered by Henry VIII, who ordered it to be strengthened to withstand artillery attacks. In the Civil War the castle remained loyal to Charles I, whilst the island of Guernsey supported Cromwell, and the castle was besieged for almost nine years. After the Civil War General Lambert, one of Cromwell's most important supporters, was imprisoned there between 1661 and 1670. A serious explosion in 1672 destroyed the Castle's Tower, Chapel and the Governor's residence. A vessel in the background of the present work is firing a salute which may mark the return of the Governor to the Castle. At the time this work must have been painted the Governor of Guernsey was Christopher, Lord Hatton. He had acted as Comptroller of the Royal Household, and after the Restoration was made a Privy Councillor and Governor of Guernsey. He was succeeded as Governor by his son, Christopher. The artist Jacob Knyff was born in Haarlem, the son of Wouter Knyff. By 1670 he had a studio in Paris and he moved to England in 1672, one of the Dutch artists who were encouraged to come by Charles II's proclamation promising the work in this country. He remained in England until his death.

      Sotheby's
    • JACOB KNYFF (1638-1681)
      Nov. 01, 2001

      JACOB KNYFF (1638-1681)

      Est: $14,600 - $21,900

      DUTCH SHIPPING, INCLUDING AN AMSTERDAM GALLEON, LYING IN THE HARBOUR AT GENOA AT SUNSET SIGNED WITH INITIALS 'JWK' (BOW OF LOADING BOAT) OIL ON PANEL 26 X 43IN. (66 X 109.3CM.) NOTES THE ANCIENT ITALIAN PORT OF GENOA, LOCATED WITHIN THE PROVINCE OF THE SAME NAME, EXERTED A POWERFUL INFLUENCE OVER MEDITERRANEAN AFFAIRS THROUGHOUT THE MIDDLE AGES AND BEYOND. THE LONG STRUGGLE BETWEEN THE GENOESE AND THE VENETIANS DURING THE THIRTEENTH CENTURY WAS ONE OF THE MOST MEMORABLE IN THE MEDIEVAL HISTORY OF ITALY AND EVEN AFTER THE GENOESE LOST SOME OF THEIR APPETITE FOR WAR, THE CITY OF GENOA'S STATURE AS A MAJOR TRADING PORT CONTINUED TO FLOURISH UNTIL THE END OF THE AGE OF SAIL. IN THIS WORK, TYPICAL OF JACOB KNYFF'S 'EARLIER' MEDITERRANEAN SCENES PAINTED BEFORE HE CAME TO ENGLAND IN 1672/73, THE PINK CLOUDS OF THE EVENING SKY ARE PARTICULARLY CHARACTERISTIC OF HIS STYLE AT THIS STAGE OF HIS CAREER. MOREOVER, HE IS AT PAINS TO STRESS THE COSMOPOLITAN IMPORTANCE OF GENOA AS A COMMERCIAL CROSSROADS, WITH THE ENGLISH MAN-O'WAR IN THE CENTRE PERHAPS DEPARTING AFTER A GOODWILL VISIT TO ENSURE HARMONIOUS RELATIONS, AND THE DUTCH GALLEON IN THE LEFT FOREGROUND CARRYING THE ARMS OF THE CITY OF AMSTERDAM ON HER STERN, BOTH VESSELS BEARING WITNESS TO GENOA AS A SIGNIFICANT DESTINATION FOR THE SHIPS OF EUROPE'S TWO GREATEST TRADING POWERS IN THE SECOND HALF OF THE SEVENTEENTH CENTURY. THE AMSTERDAM GALLEON AND HER ATTENDANT LIGHTERS FORM, IN FACT, AN INSTRUCTIVE VIGNETTE ON HARBOUR PRACTICE AT THIS DATE SHOWING, AS IT DOES, THE MANNER IN WHICH A SHIP WAS LOADED OR UNLOADED WHEN SHE WAS LYING IN THE ROADSTEAD RATHER THAN AT THE QUAYSIDE. THIS COMMONPLACE THOUGH REVEALING LITTLE SCENE SERVES TO ENHANCE FURTHER AN ALREADY CHARMING VIEW, NOTABLE FOR ITS TOPOGRAPHICAL APPEAL AS MUCH AS FOR ITS DEPICTION OF THE SEA AND THE SHIPS WHICH SAIL UPON IT. THIS WORK HAS BEEN ILLUSTRATED AND DISCUSSED IN FRANK COCKETT'S EARLY SEA PAINTERS, 1660-1730, PUBLISHED 1995, CH. 2, P.40-41.

      Christie's
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