William van der Hagen Sold at Auction Prices

b. 1745 -

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    • ATTRIBUTED TO WILLIAM VAN DER HAGEN (FL. 1720-1745) King William III off the coast of Ireland, June 1690, with an English Royal Yacht and the Lord High Admiral’s First-rate Flying the Royal Standard Oil on canvas, 85.8 x 142.9 cm The yacht is i
      Oct. 18, 2022

      ATTRIBUTED TO WILLIAM VAN DER HAGEN (FL. 1720-1745) King William III off the coast of Ireland, June 1690, with an English Royal Yacht and the Lord High Admiral’s First-rate Flying the Royal Standard Oil on canvas, 85.8 x 142.9 cm The yacht is i

      Est: €20,000 - €30,000

      ATTRIBUTED TO WILLIAM VAN DER HAGEN (FL. 1720-1745) King William III off the coast of Ireland, June 1690, with an English Royal Yacht and the Lord High Admiral’s First-rate Flying the Royal Standard Oil on canvas, 85.8 x 142.9 cm The yacht is inscribed on the stern in Latin with the initials of the King and Queen: “W(illiam) R(ex)” and “M(aria) R(egina) King William III set sail for Ireland with the English fleet in the second week of June 1690, arriving off Carrickfergus on 14 June. Here he landed before proceeding to Belfast where he took command of his army and marched towards Drogheda. On the 30 June he faced the combined French and Irish armies of King James II across the River Boyne, where the battle and subsequent rout of the Jacobite army took place the following day. William himself was slightly wounded in the battle, which was the keystone event in securing the Protestant ascendancy for many years to come. It also effectively marked the end of King James's hopes of re-establishing himself on the English throne. After proceeding to Dublin where he entered the city in triumph, William advanced against Limerick, but failed to convert his siege there into capitulation. He returned from County Cork in July after less than two months of campaigning with his throne effectively safe from further opposition. The present painting, which dates from about 1730, is best judged as a ‘fancy’ picture to the extent that it does not rely on an eye-witness account by the artist. Nor indeed was topographical accuracy what viewers of such works demanded. What the painting does is symbolically celebrate the victory of the House of Orange over the Stuart kings in Ireland. In 1728, William Van der Hagen was employed to paint a series of six Irish views for Robert Baillie which were to be reproduced in tapestry. All of the subjects were to be taken from King William's campaign in 1690, but in the event only two were completed, The Defence of Derry and The Battle of the Boyne. These are still preserved in what was the chamber of the Irish House of Lords, now the Bank of Ireland on College Green. However, he did paint a series of such pictures for other patrons, including King William Landing at Carrickfergus (Ulster Museum), and numerous other topographical and fancy landscapes are recorded in historic Irish collections. In the present painting, the richly gilded Royal Yacht in the foreground is flying the pennant which from 1660 indicated that the ship was under independent, rather than fleet, command. Here it is in the personal service of the monarch. The large first-rate on the right-hand side of the composition is flying on its mainmast the Royal Standard of William III which was in use between 1689 and 1702, whilst the fore flies the Admiralty and Lord High Admiral's flag, with its motif of a gold anchor and rope. At the stern is the senior ensign of the Royal Navy (in use from 1625 to 1707) and the stern mast flies the ‘jack’ of the Royal Navy which was in service from the same dates. All this indicates the presence on board of the king himself and the commander of his navy, the Lord High Admiral. In the left foreground the small boat flies the red, white and blue striped Dutch ‘Double Prince’ flag of the Amsterdam Admiralty, which is painted in close contiguity with the naval ‘jack’ flying from the round tower on shore, emphasising thereby the Anglo-Dutch alliance.

      Adam's
    • William van der Hagen (Fl. 1720-1745) Capriccio
      May. 28, 2014

      William van der Hagen (Fl. 1720-1745) Capriccio

      Est: €20,000 - €30,000

      William van der Hagen (Fl. 1720-1745) Capriccio with Figures and Ruins Oil on canvas, 129 x 97cm (50¾ x 38¼'') Signed and dated 1737 Capriccio paintings, usually consisting of classical ruins juxtaposed artificially in an imaginary landscape, belong to a sub-genre of landscape painting, produced in Rome from the seventeenth century by such artists as Claude Lorraine (1600-82). In the early eighteenth century they were to become a speciality of the artist Giovanni Paolo Panini (1691-1765). Often acquired by those on the Grand Tour, their purpose was to provide an evocation of the remains of architectural glories of ancient Rome. William Van der Hagen, the artist of this painting, was a member of a family of painters of Dutch origin, active in London from the seventeenth century. He was first recorded in Dublin in September 1722, when he was employed as a scene painter by the Smock Alley Theatre. A versatile artist, he also painted: altarpieces for St Michan's Church, Dublin (1724) and St Patrick's Church, Waterford (1736); architectural capricci, including for Beaulieu House; panoramic views of the cities of Waterford and Drogheda, as well as landscape prospects to form the background of projected tapestries for the House of Lords, one representing the Battle of the Boyne (Bank of Ireland, Dublin). In Waterford he also received several commissions for decorative painting, such as for Curraghmore, seat of the Marquess of Waterford, for whom he painted the staircase, as well as an entire room on the ground floor with landscapes, surmounted by a fictive dome. His last work appears to have been a view of the waterfall at Powerscourt, Co. Wicklow, which was engraved by John Brooks in 1745. Announcing the publication of the engraving, Faulkner's Dublin Journal described it as being after 'the late ingenious Mr. Vander Egan (9-13 April 1745). This example of one of his architectural capricci, is shown against a dramatic mountainous background complete with a river and lake, the composition recalling the elements of a stage set. Painted with Van der Hagen characteristic precision of detail, the scene contains architectural elements reminiscent of remains at Hadrian's Villa, Tivoli, such as its large baths, seen in the ruins of a large double-height building on the left, as well as the rectangular pool in the centre of the painting. In the background can be seen a temple in the form of a rotunda, with composite columns. To the right stands an honorific column surmounted by an urn, similar to one in the Forum, Rome, dedicated to Phocas (608 AD). The tombs and sacral elements, as well as the decayed buildings with overgrowth, serve to remind the educated viewer of the transience of life and the glories of a past civilization. Typical of Van der Hagen's work, is that the view is enlivened by humans, animals and birds. Figures provide interest as far as the eye can see, from the Franciscan monk astride a donkey clutching his rosary beads in the foreground, to those further away engaged in activites at the water's edge, to the minute figures visiting the temple in the background. Elongation of figures is also a mannerism of the artist, seen here in the tall figure of the woman in the straw hat in the foreground. In the same group, the bent leg of the wounded beggar on the ground, strongly resembles the pose of a boy included in a similar landscape by Van der Hagen in a private collection. Less than ten paintings by Van der Hagen are known and even less are signed. One in the National Gallery of Ireland is another capriccio, which similarly includes architectural ruins, pastoral figures, animals and well painted foliage placed against the light. As the first professional landscape painter in Ireland, Van der Hagen's Claudean-style topographical views were important, in inspiring later generations of landscape painters in Ireland, in particular Joseph Tudor (c. 1695-1759) and Robert Carver (c. 1730-91). Further Reading: Mia Craig, 'The Van der Hagen Problem in the British Isles', unpublished BA thesis (TCD, 1992); Nicola Figgis and Brendan Rooney, Irish Paintings in the National Gallery of Ireland, Dublin, 2001, pp. 455-57; Anne Crookshank and the Knight of Glin, Ireland's Painters, New Haven and London, 2002, pp. 68-71. Dr. Nicola Figgis

      Adam's
    • WILLIAM VAN DER HAGEN (FL. 1720-1745) Capriccio
      Oct. 14, 2013

      WILLIAM VAN DER HAGEN (FL. 1720-1745) Capriccio

      Est: €35,000 - €50,000

      WILLIAM VAN DER HAGEN (FL. 1720-1745) Capriccio with Figures and Ruins Oil on canvas, 129 x 97cms Signed and dated 1737 Capriccio paintings, usually consisting of classical ruins juxtaposed artificially in an imaginary landscape, belong to a sub-genre of landscape painting, produced in Rome from the seventeenth century by such artists as Claude Lorraine (1600-82). In the early eighteenth century they were to become a speciality of the artist Giovanni Paolo Panini (1691-1765). Often acquired by those on the Grand Tour, their purpose was to provide an evocation of the remains of architectural glories of ancient Rome. William Van der Hagen, the artist of this painting, was a member of a family of painters of Dutch origin, active in London from the seventeenth century. He was first recorded in Dublin in September 1722, when he was employed as a scene painter by the Smock Alley Theatre. A versatile artist, he also painted: altarpieces for St Michan's Church, Dublin (1724) and St Patrick's Church, Waterford (1736); architectural capricci, including for Beaulieu House; panoramic views of the cities of Waterford and Drogheda, as well as landscape prospects to form the background of projected tapestries for the House of Lords, one representing the Battle of the Boyne (Bank of Ireland, Dublin). In Waterford he also received several commissions for decorative painting, such as for Curraghmore, seat of the Marquess of Waterford, for whom he painted the staircase, as well as an entire room on the ground floor with landscapes, surmounted by a fictive dome. His last work appears to have been a view of the waterfall at Powerscourt, Co. Wicklow, which was engraved by John Brooks in 1745. Announcing the publication of the engraving, Faulkner's Dublin Journal described it as being after 'the late ingenious Mr. Vander Egan (9-13 April 1745). This example of one of his architectural capricci, is shown against a dramatic mountainous background complete with a river and lake, the composition recalling the elements of a stage set. Painted with Van der Hagen characteristic precision of detail, the scene contains architectural elements reminiscent of remains at Hadrian's Villa, Tivoli, such as its large baths, seen in the ruins of a large double-height building on the left, as well as the rectangular pool in the centre of the painting. In the background can be seen a temple in the form of a rotunda, with composite columns. To the right stands an honorific column surmounted by an urn, similar to one in the Forum, Rome, dedicated to Phocas (608 AD). The tombs and sacral elements, as well as the decayed buildings with overgrowth, serve to remind the educated viewer of the transience of life and the glories of a past civilization. Typical of Van der Hagen's work, is that the view is enlivened by humans, animals and birds. Figures provide interest as far as the eye can see, from the Franciscan monk astride a donkey clutching his rosary beads in the foreground, to those further away engaged in activites at the water's edge, to the minute figures visiting the temple in the background. Elongation of figures is also a mannerism of the artist, seen here in the tall figure of the woman in the straw hat in the foreground. In the same group, the bent leg of the wounded beggar on the ground, strongly resembles the pose of a boy included in a similar landscape by Van der Hagen in a private collection. Less than ten paintings by Van der Hagen are known and even less are signed. One in the National Gallery of Ireland is another capriccio, which similarly includes architectural ruins, pastoral figures, animals and well painted foliage placed against the light. As the first professional landscape painter in Ireland, Van der Hagen's Claudean-style topographical views were important, in inspiring later generations of landscape painters in Ireland, in particular Joseph Tudor (c. 1695-1759) and Robert Carver (c. 1730-91). Further Reading: Mia Craig, 'The Van der Hagen Problem in the British Isles', unpublished BA thesis (TCD, 1992); Nicola Figgis and Brendan Rooney, Irish Paintings in the National Gallery of Ireland, Dublin, 2001, pp. 455-57; Anne Crookshank and the Knight of Glin, Ireland's Painters, New Haven and London, 2002, pp. 68-71. Dr. Nicola Figgis, June 2013

      Adam's
    • Attributed to William van der Hagen (The Hague fl.c. 1720-1745)
      Jul. 14, 2011

      Attributed to William van der Hagen (The Hague fl.c. 1720-1745)

      Est: £15,000 - £25,000

      Attributed to William van der Hagen (The Hague fl.c. 1720-1745) A mountainous wooded river landscape with a fortified town in the middle distance, figures resting on a track with livestock in the foreground oil on canvas 49½ x 39 5/8 in. (126 x 100.6 cm.) in a Lely panel frame

      Christie's
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