Cornelis Beelt

Sale, London, Sotheby's, 19 July 1933, lot 36 (as Dutch School), to Brent;
Art market, Sweden, by 1949 (as by Cornelis Beelt);
Anonymous sale, Zurich, Koller, 22 May 1973, lot 2781;
With Alan Jacobs, London, by 1974;
Sale, London, Sotheby's, 19 March 1975, lot 27;
Anonymous sale, London, Christie's, 15 July 1977, lot 140.

B. Rapp, 'Charles II's Departure for England; two paintings by Cornelis Beelt', The Connoisseur, December 1949, pp. 110-1, reproduced p. 111, fig. 1;
The Connoisseur, August 1974 (advertisement);
H.-U. Beck, Künstler um Jan van Goyen. Maler und Zeichner, Doornspijk 1991, pp. 25-31, reproduced p. 26, fig. 9.

The catalogue illustration is representative for the actual painting. The canvas has a rather firm relining, which has somewhat flattened the paint surface. A horizontal surface scratch of approx. 40 cm. is running through the middle of the canvas, and a smaller vertical surface scratch of approx. 10 cm. is visible in the upper centre. Otherwise the painting seems to be in good condition. Small scattered retouchings are visible in the sky throughout. The paint surface is covered with a clean and glossy layer of varnish. The craquelure pattern is slightly coarse. Inspection under ultra violet light confirms the retouchings as mentioned above, and reveals additional tiny scattered retouchings in the foreground, in the group of figures in the centre and to the left, and, furthermore, reveals minor strengthening in the ships at the horizon. Offered in a plain gilt wood frame decorated with stylised leaf scrolls on the inner border, with two holes in the left and right sides. (MW)
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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In the 17th Century, beach scenes became an increasingly popular sub-genre in Dutch landscape painting, attracting both landscape and marine painters. Although the beach was treated as a subject in its own right by artists such as Jan Porcellis (1583/5-1632), Hendrick Vroom (1566-1640), and Adam Willaerts (1577-1664), the beach was used more often as a setting for religious scenes and historical events. A particularly popular event was the embarkment of King Charles II in May 1660 from a crowded beach at Scheveningen, to return to England after exile.¹

Cornelis Beelt, who mainly painted beach scenes, painted several versions of the event, such as the one in the Rijksmuseum, Amsterdam (inv. no. A2692), and another which was sold, Amsterdam, Christie's, 10 May 2006, lot 66.  The present painting, with the Church at Scheveningen situated on the right, vessels on the coastline waiting to depart and an assembly of villagers apparently waiting for something to happen, is dated 1659, and thus couldn't possibly depict the occurrence of the official return of the King for England. The composition, however, is very similar to treatments by Beelt of the actual return of the King. According to Rapp, who is seeking for an explanation for the meagre assemblage of people as well as the date, this picture could represent the King's intended return to England in 1659. In 1659 King Charles had planned to return in secret to support a Rebellion against the Parliamentarians. This Rebellion was discovered before it began and the King's return was cancelled.²

The composition and colouring of this painting is very typical for Beelt. Specific motifs like the elegantly dressed horse riders, recur in other beach scenes, such as the one in the Koninklijk Museum voor Schone Kunsten, Antwerp (inv. no. 924). In the absence of any concrete reference to the departure of the King, one should bear in mind that this picture, like many other beach scenes by Beelt, is a beach scene in its own right.  

1. For further reading on beach scenes in 17th Century Dutch art, see S.E. Giepmans, et. al., Hollandse stranden in de Gouden Eeuw, exhibition catalogue, Leiden 2004.
2. See Rapp under Literature, p. 110.