The National Maritime Museum in Amsterdam (Het Scheepvaartmuseum) has purchased two rare, royally commissioned tapestries designed by Willem van de Velde the Elder (1611-1693) in England. The tapestries mark the significance of shared Anglo-Dutch heritage. The acquisition is the largest in the history of the museum. The tapestries will be on display from the 1st of October 2021. This is together with the grand exhibition about Willem van de Velde Father & Son, expected from October 1 2021 to March 27 2022.

Willem Van de Velde the Elder


Willem van de Velde the Elder (1611-1693) is widely regarded as one of the most eminent Dutch maritime artists of the seventeenth century. His meticulous and elaborate pen-paintings were very popular in high society and affluent circles all over Europe. Van de Velde and his son Willem, also a celebrated maritime artist, settled in England in the winter of 1672-1673 to work at the royal court on the invitation of King Charles II. There, in addition to various pen-paintings and a few oil paintings, Van de Velde the Elder created the designs for a series of imposing tapestries that were produced at the Mortlake Tapestry Works near London. The tapestries highlight the skill and versatile talent of Van de Velde the Elder. The tapestries are an important addition to the existing collection of sketches, drawings, pen-paintings and paintings of Willem van de Velde the Elder and his son Willem van de Velde the Younger the National Maritime Museum (Het Scheepvaartmuseum). 
 

The Fleets drawn up for Battle, woven after a design by Willem van de Velde the Elder, 5,87 x 3,30 metres, woven after 1685. 

Battle of Solebay


The tapestries depict two scenes from the battle that took place off the east coast of England, near Solebay in Suffolk, on 7 June 1672. The naval engagement between the Dutch and joint English-French fleet was the opening battle of the Third Anglo-Dutch War (1672-1674). The Dutch fleet of over a 100 warships and 20,000 crew members was commanded by Lieutenant Admiral Michiel Adriaensz de Ruyter. On the day of the battle Van de Velde the Elder was present and, as an embedded war correspondent, captured the unfolding events at sea in several sketches onboard a Dutch sailing boat. He later made more elaborate drawings of the battle in the comfort of his own studio. Although the outcome of the naval battle remained undecided, it was celebrated as a victory on both sides.
 

The Burning of the Royal James (Later in the Day), woven after a design by Willem van de Velde the Elder, 4,57 x 3,30 metres, woven after 1685.

Royal commission


After he settled in Greenwich, Van de Velde the Elder adapted his original drawings for the design of the series of tapestries as part of two royal commissions, first by King Charles II in ca. 1672 and in 1685 for a second series at the request of King James II. These tapestries were woven by Thomas Poyntz at the Mortlake Tapestry Works near London. The largest tapestry, measuring an impressive 6 by 3.3 metres in size, depicts the formation of the fleets preceding the battle. The second tapestry of 4.5 by 3.3 metres depicts a successful Dutch fireship attack on the Earl of Sandwich’s imposing English flagship Royal James.

The purchage of the Van de Velde tapestries was realised with the help of these funds and the UK Circle Fund of Vereniging Rembrandt. 

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