Lot 22
Adam Pynacker(Pynacker, near Delft circa 1620-1673 Amsterdam)Shipping at anchor in a bay at sunset, a ferry in the foreground
3 December 2025, 14:00 GMT
London, New Bond Street£30,000 - £50,000
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Adam Pynacker (Pynacker, near Delft circa 1620-1673 Amsterdam)
Shipping at anchor in a bay at sunset, a ferry in the foreground
oil on canvas
63 x 86cm (24 13/16 x 33 7/8in).
oil on canvas
63 x 86cm (24 13/16 x 33 7/8in).
Footnotes
Provenance
Private collection, Berlin, 1928
Sale, Siebers, Stuttgart, 26 March 2010, lot 1163 (sold for €140,000)
Private collection, Germany, 2010
With Johnny Van Haeften Gallery, London, 2012 where acquired by
Mr and Mrs Anthony Inder Rieden
Collection of a Family Trust
Literature
L.B.L Harwood, Adam Pynacker (c.1620-1673), Doornspijk, 1988, p. 114, no B9, plate 107 (as possibly Adam Pijnacker)
G. de Beer, The Golden Age of Dutch Marine Paintings. The Inder Rieden Collection, Leiden, 2019, vol. 3, pp. 864-878, cat. no. 55, ill
Born in Schiedam, the son of a wine merchant, Adam Pijnacker presumably travelled to Italy in the 1640s. However, he was not recorded as being a member of the Schildersbent, the group of Northern European artists in Rome so his visit may have been more in a capacity related to his family business. Along with Jan Asselijn (1610/14-1652), Jan Both (c. 1615-1652), Nicolaes Berchem (1621/22-1683) and others, Pynacker can be considered one of the most important of the Dutch Italianate painters.
Little is known of his early life – Houbracken mentions that Pynacker spent 3 years in Italy – and, in her entry for this work, de Beer mentions that a painting by the artist is recorded in an inventory of 1646. However, it is difficult to construct a chronology of his works as only six of them are dated, with the earliest being from 1650.
For the present work, Harwood, who initially listed it under 'unresolved works' but now considers it a fully autograph work, includes it as part of a group of river and coastal scenes that she dates to between 1650-1654. The tall, delicate trees in the upper left, a motif borrowed from Jan Both, along with the suffused golden light, lend the painting a strong Southern feel so resonant of the work Dutch Italianates.