Amsterdam Harbor Scene
c. 1654/1655
Artist, Dutch, 1623 or 1624 - 1664
Reinier Nooms, an Amsterdam painter and graphic artist also known as Reinier Zeeman (which means seaman), specialized in maritime subjects. His career coincided with the heyday of Dutch commercial and maritime power in the 17th century, and Amsterdam’s bustling harbor in the IJ estuary provided Nooms with much of his artistic inspiration.
The billowing clouds, fluttering flags, and slightly choppy waters give life to this engaging view of Amsterdam’s harbor. A warship and several merchant ships are tied up inside the breakwater for maintenance and repairs. A man on a temporary platform works on the hull of the three-master to the left of center, while his colleague tends to a vat of hot tar on a floating dock. Two women have tied their skiff to the dock to do laundry in the harbor’s waters.
This painting celebrates a powerful Amsterdam family and its link to an important warship owned by the city’s Admiralty. The castle depicted on the ship’s tafferel (the painted panel on the stern) identifies it as the Huis te Swieten, which was built in 1653 and captured by the English in 1665. The warship served as the flagship of Michiel de Ruyter, one of Holland’s greatest naval heroes, on three expeditions in the 1650s.
The Huis te Swieten was named after the country estate of burgomaster Cornelis Bicker (1592–1654), a wealthy merchant and a member of the most powerful family in Amsterdam in the 1650s. Cornelis’s brother Jan Bicker (1591–1653) operated a thriving shipbuilding enterprise on a newly reclaimed island off Amsterdam’s shoreline. Bicker’s Island, as it is still known today, was one of three islands created as part of the city’s expansion of 1610. In the mid-1650s Nooms made an etching of the shipyard on Bicker’s Island featuring a small guardhouse at one of the openings in the breakwater that protected the harbor. At the far left of Amsterdam Harbor Scene we see a similar guardhouse, which, based on cartographic evidence, was situated at another opening farther out along the breakwater. The etching, which positively identifies Bicker’s Island, and contemporary maps of Amsterdam confirm that Nooms painted this scene from the northeastern shore of Bicker’s Island, looking across the IJ.
The artist signed Amsterdam Harbor Scene as "R.Zeeman" upon its completion around 1658, embedding his coined name on the flag on the warship’s main mast. Coincidentally, Nooms accompanied De Ruyter on an expedition to the Mediterranean from 1661 to 1663.

West Building Main Floor, Gallery 49
Artwork overview
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Medium
oil on canvas
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Credit Line
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Dimensions
overall: 61 x 81.8 cm (24 x 32 3/16 in.)
framed: 81.9 × 102.2 × 5.72 cm (32 1/4 × 40 1/4 × 2 1/4 in.) -
Accession
2011.3.1
More About this Artwork
Artwork history & notes
Provenance
Probably commissioned by the Bicker family, Amsterdam.[1] Pieter Locquet [d. 1781]; (his estate sale, Amsterdam, 22-24 September 1783, no. 448); Mi[...]er.[2] Private collection, England; (sale, Bonhams, London, 12 September 2009, no. 82); (Johnny Van Haeften, Ltd., London); purchased 19 January 2011 by NGA.
[1] The painted panel on the stern of the warship in the painting bears an image of a castle, which identifies the ship as the Huis te Swieten, an important warship in the fleet of Amsterdam's Admiralty. The warship was named after Castle Swieten (or Zwieten), since 1632 the country estate of Cornelils Bicker (1592-1654), a member of the most powerful family in Amsterdam at the time. One of the four Bicker brothers--Andries (1586-1652), Jacob (1588-1647), Jan (1591-1653), and Cornelis--likely commissioned the painting from Nooms, who executed other paintings as well as engravings that included views of Bicker family property.
[2] A copy of the sale catalogue, annotated with buyers names and prices, is available on the Internet Archive: https://ia800800.us.archive.org/18/items/catalogusvaneenu00locq/catalogusvaneenu00locq.pdf (accessed 26 June 2017). The middle letters of the buyer's name are not clear.
Associated Names
Exhibition History
2018
Water, Wind, and Waves: Marine Paintings from the Dutch Golden Age, National Gallery of Art, Washington, D.C., 2018, unnumbered brochure, fig. 5.
2021
Clouds, Ice, and Bounty: The Lee and Juliet Folger Fund Collection of Seventeenth-Century Dutch and Flemish Paintings, National Gallery of Art, Washington, 2021, no. 10, repro.
Bibliography
2011
Wheelock, Arthur K., Jr., and Daniëlle H.A.C. Lokin. Human Connections in the Age of Vermeer. Exh. cat. Kyoto Municipal Museum of Art; Miyagi Museum of Art, Sendai; Bunkamura Museum of Art, Tokyo. London, 2011: 13, fig. 2.
Wheelock, Arthur K., Jr., and Daniëlle H.A.C. Lokin. Communication: Visualizing the Human Connection in the Age of Vermeer. Japanese ed. Exh. cat. Kyoto Municipal Museum of Art; Miyagi Museum of Art, Sendai; Bunkamura Museum of Art, Tokyo. Tokyo, 2011: 20, fig. 2.
2012
Bruyn Kops-Rahusen, Henriette de. "De Thuishaven van de Familie Bicker." Maandblad Amstelodamum 1 (2012): 34-43, 35 fig. 1, 36 fig. 2 (detail), 38 fig. 5 (detail).
Inscriptions
center right on the flag: R.Zeeman
Wikidata ID
Q20177456