SCHLOSSPARK MIT BRUNNENANLAGE UND ELEGANTER GESELLSCHAFT Öl auf Leinwand. Doubliert. 33,5 x 48 cm. Links unten signiert „A Storck“. Im Licht der aufgehenden Morgensonne hat sich eine vornehme Gesellschaft in einer Schlossanlage versammelt, um zu einer Falkenjagd aufzubrechen; dazu gehören auch zwei gesattelte Pferde, mehrere Jagdhunde und dressierte Falken, die auf einem Brett von einem Mann im Vordergrund getragen werden. Rechtsseitig eine breite Treppe, die zum im Hintergrund liegenden Schloss führt, auf der das Regentenpaar steht, um auf die Pferde zu steigen. Links davon eine große Brunnenanlage mit zahlreichen Skulpturen. Der Künstler hat neben südlichen Hafenansichten mit eleganten Gesellschaften auch Parklandschaften mit ähnlicher Figurenstaffage gemalt, jedoch sind diese meist besonders fein ausgeführte Gemälde, wie das vorliegende, eher selten auf dem Markt zu finden. Eine vergleichbare Darstellung ist im RKD unter der Nr. 110212 zu finden. Provenienz: H. von Schoen (verso laut Etiketten), wohl der bayerische Diplomat Hans von Schoen (1876-1969); Belgische Privatsammlung. (1410958) (18) Abraham Jansz Storck, 1635 Amsterdam – 1710 ibid. PALACE PARK WITH FOUNTAIN AND ELEGANT COMPANY Oil on canvas. Relined. 33.5 x 48 cm. Signed “A Storck” lower left. A similar depiction is listed at the RKD under no. 110212. Provenance: H. von Schoen (according to labels on the reverse), probably referring to Bavarian diplomat Hans von Schoen (1876 - 1969). Private collection, Belgium.
Abraham Storck Amsterdam 1644–1708 A capriccio of a mediterranean harbour, possibly Palermo signed lower left: A. Storck / fecit oil on canvas unframed: 58 x 77 cm.; 22⅞ x 30¼ in. framed: 80.5 x 99.5 cm.; 31¾ x 39⅛ in.
oil on canvas, without frame 67 x 87 cm on the back, on the frame, Galleria Caretto label, old inventory label with N. 1 and another inventory label with number J 15 PROVENANCE Private collection, London; Giorgio Caretto Gallery, Turin; private collection LITERATURE Mostra di marinisti del XVII e XVIII secolo, exhibition catalog (Galleria Giorgio Caretto, 13 November - 1 December 1973), Turin, 1973, n. 47 The work is accompanied by a photographic authentication by Giorgio Caretto, dated 29 November 1973.
Signed lower left: A. Storck In addition to Mediterranean-style harbour views with elegant parties, Abraham Storck also painted small-format park landscapes with comparable figures. Paintings like the present one rarely come onto the market and are usually particularly finely executed. A comparable Mediterranean park landscape in private ownership dated 1687 is also known (see RKD picture archive, no. 110212).
ABRAHAM STORCK (1644 Amsterdam 1708) Harbour scene. Oil on canvas. Signed lower left on the dock: A: Storck Fecit. 45.3 × 55.2 cm. Provenance: - Sale Robinson and Fisher, London, Mexborough sale, 10.11.1927, Lot 13. - Private collection, Great Britain. - With Richard Green, London, 1992. - Private collection, Switzerland. See also Lot 3053. --------------- ABRAHAM STORCK (1644 Amsterdam 1708) Hafenszene. Öl auf Leinwand. Unten links auf dem Steg signiert: A: Storck Fecit. 45,3 × 55,2 cm. Provenienz: - Auktion Robinson und Fisher, London, Mexborough sale, 10.11.1927, Los 13. - Privatsammlung, Grossbritannien. - Kunsthandel Richard Green, London, 1992. - Schweizer Privatbesitz. Siehe auch Katalogtext zu Los 3053. ---------------
ABRAHAM STORCK (1644 Amsterdam 1708) Ships by the coast on a stormy sea. Oil on panel. 34.9 × 46.2 cm. Provenance: - Sale Christie's, London, 9.12.2015, Lot 137. - European collection. Dr Pieter Roelofs confirmed the authenticity of this work on the basis of a photograph in 2015. --------------- ABRAHAM STORCK (1644 Amsterdam 1708) Schiffe an stürmischer Küste. Öl auf Holz. 34,9 × 46,2 cm. Provenienz: - Auktion Christie's, London, 9.12.2015, Los 137. - Europäische Sammlung. Abraham Storck gilt weithin als einer der grössten Marinemaler der zweiten Generation der niederländischen Schule. Sein ganzes Leben verbrachte er in Amsterdam und sein Stil zeigt den deutlichen Einfluss von Willem van de Velde d. J. (1633–1707) und Ludolph Bakhuizen (1630–1708), beides bedeutende holländische Marinemaler, bei denen Storck studiert haben soll. Abraham Storck war ein aussergewöhnlich aufmerksamer Künstler. Sein bevorzugtes Motiv war der Hafen seiner Heimatstadt und seine Gemälde enthalten detaillierte Aufzeichnungen nicht nur des Hafens selbst, sondern auch der Menschen, der Kleidung und des Ambientes der Niederlande im 17. Jahrhundert. Die Gemälde von Abraham Storck sind exzellent ausgeführt. Sein Verständnis für die Technik der Schiffe, die er darstellte, egal ob niederländisch oder ausländisch, hebt sich als lebendige Aufzeichnung des Beginns des grossen Zeitalters der Seefahrt hervor. Dr. Pieter Roelofs bestätigte 2015 die Eigenhändigkeit anhand einer Fotografie. ---------------
Abraham Jansz Storck Dutch, 1644-1708 A View of Monte- Carlo between Rome and Naples oil on canvas label to verso with script-with initials to a basket beneath a seated figure, see extra online images Provenance: According to Robert Jones Fine Art this work was acquired in Russia circa 1900 by the father of the then previous owner Robert Jones Fine Art London 1991 (38,000 pounds)
(Amsterdam, 1635 - 1710) Capriccio veneziano con il Bacino di San Marco Olio su tela, cm 83,2X111,4 Provenienza: Londra, collezione di Mrs Frances Henderson Londra, Christie's, 15 novembre 1918, lotto 149 Londra, collezione privata Londra, Christie's, 19 aprile 1996, lotto 112 (come Abraham Storck) Torino, Galleria Caretto (1996) Milano, collezione privata Opera tipica dell'artista olandese Abraham Storck, vero e proprio specialista in vedute marine di notevole esattezza topografica, ma anche creatore di vedute portuali di fantasia realizzate con sincera sensibilità mediterranea. Questi dipinti riflettono la cultura marittima e commerciale delle province olandesi, ma anche la familiarità degli artisti con la cultura pittorica italiana e si presume che lo stesso Storck abbia soggiornato nella nostra penisola come molti altri suoi colleghi. La maggior parte delle fantastiche scene portuali di Abraham sono state realizzate tra il 1670 e il 1695, sulla base dell'abbigliamento delle figure, si presume che la nostra opera sia databile intorno al 1690. A confronto possiamo qui citare la tela esitata dalla Sotheby's Londra il 27 gennaio 2023, lotto 476, che presenta una simile conformazione scenica, in analogia con quelle segnalate dall'RKD (Cfr. https://rkd.nl/explore/images/119982). Bibliografia di riferimento: S. A. C. Dudok van Heel, Het sterfjaar van de schilder Abraham Storck (1644 -....), Maandblad Amstelodamum 69, 1982, pp. 76-77 Pieter Roelofs (curator Rijksmuseum, Amsterdam) prepares an oeuvre catalogue (see e.g., cat. Rafael Valls, London, 2006, n. 30) G. d Beer, The Golden Age of Dutch Marine Painting. The Inder Rieden Collection, Leiden 2019, III, pp. 977-1008
Abraham (Sturckenburch) Storck Netherlands, Holland, (ca. 1635 or 1644 - 1708) Dutch Seaport, circa 1690 oil on canvas Abraham Storck (alternatively Sturck or Sturckenburch) was born in mid-17th c. Amsterdam to a painter (Jan Jansz Sturck, 1603-73) and his wife (Teuntje) into what had become one of the most wealthy, intellectually tolerant and cosmopolitan centers of Europe and at the time of his country's greatest moment, literally its "Golden Age." Amsterdam at the time was a world superpower, and the phenomenon of the dozens of successful merchants and their ship-centered culture, for all that it was, is sometimes called the "Dutch Miracle." Abraham and his two brothers trained early on as painters alongside their father in the family household workshop, and they were all documented members of the local artists' guild dedicated to Saint Luke: Sint-Lucasgilde. Abraham loved promoting a romantic vision of Dutch seafaring ways, and as a young man he dreamed about the most exciting aspects of it: travelling with a group of adventurous men to foreign lands, consuming exotic spiced foods, interacting with people from around the globe, not having the responsibilities of home, and seeing the world—as the Dutch had created successful trading posts around the globe. Storck had a keen and practical eye as a draughtsman, and he applied his technological skill and his innate Flemish love of encyclopaedic detail to depicting all sorts of seafaring vessels: pleasure yachts, a great warship, rowing boats, fledglings (for whaling in the Arctic), fluyts, et al. He would then set these Dutch vessels, ones that he had so meticulously admired and examined, into seascapes of all sorts: various ports, naval scenes or battle scenes, topographical views, and in harbours that often featured invented ancient Mediterranean architecture and statuary (e.g. the Colossus of Rhodes), and large-scale erupting volcanoes (certainly inspired by Mount Vesuvius and life in the enormous port city of Naples) and various other foreign elements from places he probably never saw with his own eyes but had only learned about from speaking with seafarers in northerly ports and through the art that travelled with them. This late 17th c. large square painting is about the exciting theatrical hustle and bustle of a variety of Dutch merchant shippers and various foreigners involved in the life of a successful harbor. Storck accurately depicts the details of the vessels as well as the men and the colored textures of their fashion that allows us to identify them: admirals, bystanders, land-based workers, entrepreneurs, foreign businessmen, rowers, sail handlers, young boys talking and watching, etc. And although this painting is clearly set in a "European" port—it is not a real port but instead a fantastic inventive idealistic "veduta" of a fantasy harbor scene that included everything Abraham loved about his own culture plus the amplification of it by adding the fantasy Italianate details: the tall townhouses look quite Florentine, the grey multi-storied building looks like it comes straight out of Vicenza along with its series of Palladian-like sculptures, a large ancient Roman ruin frames the left side of the painting, and a hilly landscape that recalls the landscape of many famous Italian ports (e.g. Amalfi or Positano) more than anything that ever existed in the flat-as-a-pancake landscape around Amsterdam. The idea of creating a scene of select fantastical elements (which later became known as a "capriccio") was something that hadn't yet become popular—so Storck's work here influenced the development of and the popularisation of 18th c. capriccio scenes. In sum, Storck's capacity to mix a Dutch port with elements of Mediterranean theatre culture is extraordinary; and this canvas is one of Storck's most engaging. Storck's fascination with seafaring culture (and his own culture, more broadly) can be seen in the details. The enormous man-of-war three-tiered ship that he named "D. TEMPEL SALOMONS" is an ode to the famous master shipbuilder of Rotterdam named Salomon Jansz van den Tempel (ca. 1590-1673), and Storck depicts the ship's rigging, technical details and gilding with acute precision in honour of that master's creations; but the ship is also an excuse to paint a variety of young agile Dutchmen at work: we see seven guys literally "hanging out" on top of the large horizontal sail and another seven or so climbing their way up to their level from a series of vertical ropes. There are a few men smoking long Dutch white ceramic clay pipes (pijpaarde, popular in the Netherlands from the 1630s) filled with smoking tobacco recently imported from the New World; and in one of the pipes we see Storck's tiny orange dot representing its smoking ember. And we have ornately dressed businessmen wearing strikingly fashionable Dutch and foreign hats and ornate mantels (that could be studied by fashion historians for months) while talking about some or all of the following: the spice trade in eastern Indonesia (nutmeg, cloves, pepper and mace from Maluku or Batavia), Gouda cheese or local herring exportation, issues with cinnamon bark in Dutch Ceylon (Sri Lanka), the beauty of the Dutch trade depots of Aruba or Curaçao or Saint Maarten in the Caribbean, the standard of living in New Amsterdam, the general affairs of the Dutch East Indies or West Indies Companies, or perhaps the harsh realities of the hundreds of thousands of Africans sent from the "Dutch Gold Coast" (Ghana and environs) in slave ships headed for Dutch Brazil to work sugarcane. In sum, Storck loved to depict the many men associated with Dutch seafaring, and from his body of work, it seems that he led a busy life among these men for quite some time. Along gendered lines, it is noteworthy that of the dozens of people whom he selected for representation in this painting, not one is female—although some reputable (and perhaps many unrepeatable) women would have frequented 17th c. ports. Early on in his career, the Dutch women's world did not capture Storck's attention. (At age 49 Abraham did eventually settle down, marrying an older widowed woman who brought her own children to their union.) It is also noteworthy that while Abraham loved depicting ports, harbors, sea travel and male seafarers—he happily did so at a distance, from the perspective of a man firmly grounded on the shore, of someone who chose to return home in the evening to a house filled with the creature comforts of his time. In the 1600s or in any era, life at sea would have been extraordinarily dangerous, men got seasick and in general could not receive proper medical care, un-fresh rationed food (and stored old water) was the only sustenance available, storms could blow ships off course either capsizing them or taking them to places from which they would never return home, and many must have been lonely away from their families and cities for months or even years at a time. So here Storck is heavily glamorising the Dutch seafaring lifestyle, doing so from the safety and security of his charming and luxurious Italianate fantasy harbor. For more on the Dutch Golden Age and its shipping, see James Bender's _Dutch Warships in the Age of Sail_ (2014), Simon Schama's classic _The Embarrassment of Riches_ (1987) and Gary Schwartz's _Rembrandt's Universe_ (2014). signed lower left, framed.
Huile sur toile marouflée sur toile "Voiliers près de la côte en mer". Attribué à Abraham Storck. Ecole hollandaise. Epoque: XVIIème. Dim.:+/-38,5x50,5cm.
Attrib. STORCK, Abraham (Dutch 1644-1708) Cannon Practice Savill Galleries, Sydney, label verso - stock #206235. Oil on Canvas 88x113cm PROVENANCE: Collection of Dr Robert Godsall, NSW; Bonhams & Goodman, Sydney, 5th December 2006 (lot 93); Savill Galleries, Sydney.
Abraham Storck (1644-1708), A state yacht, three-master and other shipping near a Dutch city, oil on panel, 30,5x39 cm, The turbulent weather conditions set the painting in motion. The clouds cast a shadow locally on the restless water. The centrally placed state yacht is in the spotlight and the boier is skilfully placed in its cast shadow. Central left Storck dynamically depicted a three-master, sailing towards the other ships. If we let our eyes wander along, more and more sailing boats and frigates loom into view, on the horizon the contours of a Dutch city are just visible. The Amsterdam-born painter Abraham Storck is widely considered one of the greatest marine painters of the second generation Dutch School. Spending his entire life in his native city, Storck’s style shows the influence of prominent Dutch marine painters Willem van de Velde II (1633-1707) and Ludolf Bakhuizen (1630-1708), whom he is believed to have studied with. As usual in the late period of Dutch marine painting, Storcks use of colours sets off nicely against the grey overall tone. The picture is superbly finished using luminous glazes, which endorse the influence of Backhuysen. This panting is a great example of Storck’s exceptionally artistic observant qualities and his technological understanding of the ships he depicted. Although this painting is executed on a slightly bigger panel, the composition and the depiction of the state yacht compares with Strocks A state yacht and boier yacht near the Dutch coast, sold at: Venduehuis, The Hague, 30 May 2018, lot 183 (Hammer price: 140,000 euro). Provenance: -Auction, Sotheby Mak van Waay, Amsterdam, 18 November 1975, lot 201, as: 'Hollandse driemaster en vele andere schepen op de rede van Rotterdam' (cover of the catalogue). -Auction, Christie's, Amsterdam, 4 May 1982, lot 250, as: 'Warships on the river Maas off Rotterdam'. -With Kunsthandel Koetser, Zürich, where acquired by the grandfather of the present owners. signed 'Storck' (lower right, on a piece of driftwood)
Abraham Jansz. Storck (Amsterdam circa 1635-circa 1710) A capriccio of Venice with Saint Mark's Basilica and the Campanile signed and dated 'A. Storck. Fecit Ao 1679' (on boat, lower right) oil on panel 51.5 x 64.4cm (20 1/4 x 25 3/8in). For further information on this lot please visit the Bonhams website
Inscribed \"restauriert 1893, gehört nach Pommersfelden\" and \"... Erworben am 26.11.23 von Clemens Grafen von Schönborn, Bayer. Zell\" on two old adhesive labels verso. Oil on canvas. 109 x 142 cm. Relined. Restored. Damaged. Minor damage to frame.
RefMas121121 Signed lower centre: A. Storck (and indistinctly dated) "Abraham Storck was one of the most well-known Dutch marine painters of the 17th century. He painted both fanciful southern harbour scenes with colourful figures as well scenes of daily life on the coast of his home country. At the time, Holland was one of the most important centres of international maritime trade. Life at sea and the myriad of ships and boats visiting Dutch shores inspired the painter to create countless cabinet pieces like the present work. With a fine brush and observant eye, Storck depicts a bustling scene on the front of the beach with a horse drawn cart, dog, and gesticulating figures. In the mid-ground we see flag bearing ships and a boat carrying sailors to a distant three-master, whilst a further vessel brings others back to land. The ships sailing to and fro and disappearing into the horizon testify to the vitality and economic importance of Dutch overseas trade."
Abraham STORCK Amsterdam, 1644 - 1708 Vue imaginaire d'un port méditerranéen Toile Signée et datée 'A. Storck. Ft / Ao 1675' en bas au centre sur le rocher (Restaurations) Dans un cadre en chêne sculpté et doré, travail français d'époque Louis XIV Imaginary view of a harbour, canvas, signed and dated, by A. Storck h: 76 w: 114,50 cm Provenance : Vente anonyme ; Londres, Christie's, 26 novembre 1971, n°68 ; Vente anonyme ; Versailles, Palais des Congrès, Mes Chapelle, Perrin et Fromentin, 23 novembre 1975, n°37 (largeur erronée et mention d'une ancienne provenance : collection Junkheer Huydecoper) ; Vente anonyme ; Paris, Couturier Nicolay, 10 décembre 1980, n°19 (156 000 fr.) ; Acquis lors de cette vente par l'actuelle propriétaire ; Collection particulière, Paris Commentaire : Grand peintre de marines dans la plus pure tradition hollandaise, Abraham Storck réalise aussi des caprices de ports méditerranéens, dans lesquels il apporte un soin tout particulier aux détails et aux figures. Les éléments architecturaux illustrent parfaitement la notion de caprice, ne renvoyant à aucun monument réel, même s'ils nous semblent étrangement familiers. Ici, la composition est dominée par une église vénitienne de style palladien, placée entre le quai et la mer. Sous une grande urne baroque posée sur un piédestal, des hommes transportent des tonneaux ou conversent, dans une lumière cristalline. Tout le talent du "mariniste" se retrouve dans la description des embarcations sur la partie gauche de la toile. Le dessin préparatoire à notre tableau, signé et daté de 1675 (fig. 1), est passé sur le marché de l'art (Haboldt & Co., New York/Paris, 2001, n°55). Estimation 30 000 - 40 000 €
(Amsterdam, 1635 - 1710) Veduta costiera con vascello Olio su tela, cm 74X130 Opera attribuita all'artista olandese Abraham Storck, vero e proprio specialista in veduta marine di notevole esattezza topografica ma anche creatore di vedute portuali di fantasia realizzate con sincera sensibilità mediterranea. Queste opere riflettono la cultura marittima e commerciale delle province olandesi, ma anche la familiarità degli artisti con la cultura pittorica italiana e si presume che anche che l'artista abbia soggiornato nella nostra penisola come molti altri suoi colleghi. La maggior parte delle fantastiche scene portuali di Abraham Storck sono state realizzate tra il 1670 e il 1795 e sulla base dell'abbigliamento delle figure si presume che la nostra opera sia databile intorno 1690.
Attrib. STORCK, Abraham (Dutch 1644-1708) Cannon Practice Savill Galleries, Sydney, label verso - stock #206235. Oil on Canvas 88x113cm PROVENANCE: Collection of Dr Robert Godsall, NSW; Bonhams & Goodman, Sydney, 5th December 2006 (lot 93); Savill Galleries, Sydney.
ABRAHAM STORCK (AMSTERDAM 1644-1708) Shipping off Amsterdam with figures on a quay; and Shipping in an estuary oil on canvas 22 x 27 in. (55.9 x 68.6 cm.) (2)
Inscribed \"restauriert 1893, gehört nach Pommersfelden\" and \"... Erworben am 26.11.23 von Clemens Grafen von Schönborn, Bayer. Zell\" on two old adhesive labels verso. Oil on canvas. 109 x 142 cm. Relined. Restored. Damaged. Minor damage to frame.
Abraham STORCK Amsterdam, 1644 - 1708 Grand navire de la couronne du Danemark près d'un littoral Huile sur panneau de chêne, une planche Signé 'A. Storck' en bas à gauche (Restaurations) Large Danish ship near a coastline, oil on oak panel, signed, by A. Storck h: 19 w: 26 cm Provenance : Galerie Richard Green, Londres, une étiquette au verso ; Collection particulière européenne Estimation 25 000 - 35 000 €
Abraham STORCK Amsterdam, 1644 - 1708 Scène de plage animée de personnages Huile sur toile Signée 'A. Storck F' en bas à droite Beach scene with figures, oil on canvas, signed, by A. Storck h: 33 w: 44,50 cm Provenance : Galerie De Jonckheere, selon une étiquette au verso ; Collection particulière européenne Estimation 30 000 - 40 000 €
Abraham Storck (c. 1635 - 1710) "Port scene" Oil on canvas. Signed. 85 x 67 cm. Provenance: - Formerly in the Mateu collection. - Private collection, Barcelona.
ABRAHAM JANSZ. STORCK (AMSTERDAM 1644-1708) A Mediterranean harbor with figures unloading cargo signed and dated 'A: StorcK. Fecit/ 1687.' (lower right) oil on canvas 33 1/4 x 26 5/8 in. (84.5 x 67.6 cm.) ,
ABRAHAM JANSZ. STORCK (AMSTERDAM 1644-1708) An elegant company embarking onto a barge, a country house beyond signed and dated 'A: StorcK/ F 1686' (lower right, on the steps) oil on panel 9 1/2 x 11 1/8 in. (24 x 28.2 cm.) with old painted inventory number '10.' (lower right) ,
ABRAHAM STORCK (AMSTERDAM 1644-1708) the stern of a ship with a town in the background signed 'A. Storck' pen and brown ink, grey wash, pen and brown ink framing lines, shaped at top71⁄2 x 113⁄8 in. (18.9 x 28.7 cm)
HOLLANDSE SCHOOL - ca 1700 pendant zgn "caprioccio's", olieverfschilderijen op doek (op doek) telkens met een geanimeerd zicht met schepen en gebouwen, enigszins geïnspireerd door Abraham Storck (1644 - 1708) - telkens ca 54 x 80 cm nagezien door expert Jean-Pierre De Bruyn ||pendant of two Dutch 17th/18th Cent. "Capriccio" oil on canvas (on canvas) more or less inspired by the work of Abraham Storck
Both signed and dated: A: Storck fecit an° 1677 Framed under glass Two fine, fully rendered compositions depicting fanciful Italian harbour landscapes with numerous figures, characteristic of the Amsterdam based maritime painter Abraham Storck. In good overall condition. Slight fox marks. In carved giltwood frames. RefDra22520
Abraham Jansz. Storck (Amsterdam 1644-1708) A Mediterranean harbour with figures loading cargo, a mountain beyond oil on canvas 33 x 27 ¾ in. (83.9 x 70.5 cm.)
(Amsterdam, 1644 - 1708) Marina Olio su tela, cm 44X57 Opera stilisticamente confrontabile con tele dell'artista olandese Abraham Storck, specialista in veduta marine, battaglie navali, ma anche creatore di vedute portuali di fantasia realizzate con sensibilità italianizzante. La sua produzione riflette la cultura marittima delle province olandesi, ma anche la familiarità degli artisti con la nostra cultura pittorica e si presume che anche Storck abbia soggiornato nella nostra penisola come molti altri suoi colleghi
A states yacht and boier yacht near the Dutch coast , signed 'A:Storck' (lower right) oil on panel, 24,5x35,5 cm Painted ca. 1685-1695. Exhibited: -Utrecht, Centraal Museum, 1935, no. 7431, on loan. Provenance: -Mr. N. van Bredehoff de Vicq, 1935. Abraham Storck was born in 1644 as Abraham Sturckenburch and only changed his last name in Storck circa 1688. The Sturckenburgh’s were a family of painters who specialized in marine painting as his father Johannes Sturckenburch (1603-1663/83) also painted maritime scenes and Abraham’s brothers, Johannes (1629/30-1673) and Jacobus (1641-1692/99), were trained in the subject as well. Storck was greatly influenced by his teacher Ludolf Bakhuizen (1630-1708) and this composition also testifies to this interplay between master and pupil. For the composition of the present painting, Storck seems to be inspired by Bakhuizen’s work from the 1660’s and 1670’s. The rear of the large ship in the centre is painted with great excellence and shows the quality of the painter. The dynamic clouds cast a shadow on the sea and create a beautiful depth in this painting. The subtle choppy waters increase the effect of depth, as can be seen in the waves near the ‘dolphin’ on the right. Please compare this painting to a larger version with the same composition sold at Christie’s London, 10 December 1976, lot 97. We are grateful to Fred Meijer for his help in cataloguing this lot.
STORCK, ABRAHAM (circa 1635 Amsterdam circa 1710) Dutch ships at the entrance to a harbour. Oil on canvas. Signed lower left: A. Stork: fect. 57.2 x 70 cm. Provenance: - D. A. Hoogendijk & Co. Amsterdam (label verso). - Christie's, London, 14.11.1990, Lot 127. - Private collection, Vienna. The painting is registered at the RKD, The Hague, as by the hand of Abraham Storck. --------------- STORCK, ABRAHAM (um 1635 Amsterdam um 1710) Holländische Schiffe am Hafeneingang. Öl auf Leinwand. Unten links signiert: A. Stork: fect. 57,2 x 70 cm. Provenienz: - D. A. Hoogendijk & Co. Amsterdam (verso Etikett). - Auktion Christie's, London, 14.11.1990, Los 127. - Privatsammlung, Wien. Das Gemälde ist im RKD, Den Haag, als ein eigenhändiges Werk von Abraham Storck registriert. Die Komposition lässt sich mit weiteren gesicherten Versionen vergleichen (siehe RKD).
Attributed to Abraham Storck (1644 - 1708 Dutch) Dutch Man-O-War in for repairs with fresh breeze Oil on wood panel Appears unsigned 23.25' H x 36.50' W Provenance: Estate, Pasadena, CA Notes: Framed size: 31.5' H x 44.5' W x 3.5' D.
