01 Classic Works of Art, Marine Paintings - With Footnotes, #112

Pieter COOPSE, (active Amsterdam 1668 - 1677) 

Naval PC battle between English and Dutch

Oak panel, three reinforced planks

70 x 108.5 cm - 27 1/2 X 42 3/4 IN.

Private collection

Pieter Coopse or Pieter Jansz. Coops (ca.1640, – 1673), was a Dutch Golden Age seascape painter and draughtsman from Hoorn in the Northern Netherlands.

According to the Netherlands Institute for Art History, he was a pupil of the seascape painter Ludolf Bakhuizen who resided at Hoorn in 1662-1663. He signed his name P.Coopse, sometimes with a second initial J for Jansz, but he seldom added a date. He painted marine subjects and landscapes, in the manner of Bakhuisen and Van de Velde, flourished about the year 1672. His pictures are generally of a small size, well composed, full of subject, and vigorously painted. There is a picture by him in the Gallery at Munich, which is attributed to Bakhuisen in the catalogue, though the name may be discovered on it: in England the dealers are more cautious; they remove it. Ploos van Amstel and others have given facsimiles of some of his drawings; but it is only recently that his own countrymen have discovered his merit as a painter in oil. More on Pieter Coopse

Please visit my other blogs: Art Collector, Mythology, Marine Art, and The Canals of Venice

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01 Classic Works of Art, Marine Paintings - With Footnotes, #109

William Edward Webb, English, 1862-1903 

View of a Harbor 

Oil on canvas 

22 x 38 inches (56 x 96.5 cm) 

Private collection

William Edward Webb (British, 1862-1903). A permanent resident of Manchester, he widely frequented the coasts and ports of Great Britain, producing an impressive output of active scenes celebrating the challenges faced by those who plied their trades on the open ocean.

Webb exhibited more than 60 paintings from 1890 to 1904, mostly in his hometown, but also with the Walker Art Gallery in Liverpool and three times with the Royal Academy in London. Greater commercial recognition came to Webb posthumously partially through the efforts of author Denys Brook-Hart, who saw what he identified as the extreme first-hand excellence of the artist.

Webb’s art is celebratory in spirit while it offers no false glamour of the hard lives faced by working sailors and fishermen in the 19th century. His seas are vibrant and active, his atmospheric light exceedingly realistic of the heavy skies of the British Isles, and his portrayals of the local people artistically insightful. More William Edward Webb

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01 Classic Works of Art, Marine Paintings - With Footnotes, #79

Peter van de Velde,  (1634–after 1723)

The burning of the English fleet off Chatham, 20 June 1667, circa 1670 (1667-1700)

Oil on panel

73 × 108 cm (28.7 × 42.5 in)

Rijksmuseum, Amsterdam

The Raid on the Medway during the Second Anglo-Dutch War in June 1667, sometimes called the Battle of the Medway, Raid on Chatham or the Battle of Chatham, was a successful attack conducted by the Dutch navy on English battleships at a time when most were virtually unmanned and unarmed, laid up in the fleet anchorages off Chatham Dockyard and Gillingham in the county of Kent. At the time, the fortress of Upnor Castle and a barrier chain called the "Gillingham Line" were supposed to protect the English ships.

The Dutch, under nominal command of Lieutenant-Admiral Michiel de Ruyter, over several days bombarded and then captured the town of Sheerness, sailed up the Thames estuary to Gravesend, then sailed into the River Medway to Chatham and Gillingham, where they engaged fortifications with cannon fire, burned three capital ships and ten lesser naval vessels, and captured and towed away two ships of the line: HMS Unity and HMS Royal Charles.


Politically, the raid was disastrous for King Charles' war plans and led to a quick end to the war and a favourable peace for the Dutch. It was one of the worst defeats in the Royal Navy's history. More on the Battle of Chatham

Peter van de Velde or Peter van den Velde (1634 – after 1723), was a Flemish Baroque marine painter who lived well into the 18th century. He was born in Antwerp where he became a master of the Guild of St. Luke in 1654. Between 1666 and 1680 he is recorded in the guild as having pupils. Between 1668 and 1675 he produced 50 paintings for the Antwerp art dealers Forchondt, who exported these to Vienna.

Considering the great age that this painter is supposed to have reached, it is possible that the name Peter van de Velde refers actually to two painters, maybe a father and son pair who signed with the same name. A son of Peter van de Velde was baptized in Antwerp in 1687. He is known for marines in stormy seas.

Peter van de Velde died some time after 1723, the latest date discovered on one of his paintings. More on Peter van de Velde

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01 Classic Works of Art, Marine Paintings - With Footnotes, #70

JOY LAVILLE

Figures on sand bar and fish, c. 1984

Gouache on paper

43 x 64 cm / 16 x 25 inches. 

Private Collection

Joy Laville (born September 8, 1923) is an English/Mexican artist whose art career began and mostly developed in Mexico when she came to the country to take art classes in San Miguel de Allende. While there she met Mexican writer Jorge Ibargüengoitia, whom she married in 1973. During this time her art career developed mostly in pastels with a reflective quality. In 1983, Ibargüengoitia died in a plane crash in Spain and Laville’s painting changed dramatically. Since that time, her work has focused on the loss of her husband, directly or indirectly with themes of finality, eternity and wondering what more is there. Her work has been exhibited in Mexico and abroad including the Palacio de Bellas Artes and the Museo de Arte Moderno. In 2012, she received the Bellas Artes Medal for her life’s work. More on Joy Laville

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