1901 Navy Records Society View of the 1628 Battle of Solebay

This is a 1901 10-foot-long chromolithograph view of the Battle of Solebay during the Third Anglo-Dutch War. This dramatic view was issued for the training British naval officers. It was published by the Naval Records Society after paintings made by Willem van de Velde.

A Closer Look

Dozens of ships appear, with some obscured by cannon fire. A few are burning. All fly the colors of their navy, with some flags tattered due to battle damage. A few notes are included above and below the battle and highlight moments during the battle, including the boarding of the Earl of Sandwich's ship.

The Battle of Solebay

The Battle of Solebay took place on May 28, 1672, and was the first naval battle of the Third Anglo-Dutch War (March 27, 1672 - February 19, 1674). It was one of the largest naval battles of the Age of Sail. A Dutch fleet consisting of 75 warships attacked a combined Anglo-French fleet of 93 warships near Solebay (Southwold Bay) at Southwold in Suffolk on the east coast of England. Battle preparations began at dawn when the Anglo-French fleet (at anchor in Solebay) sighted the Dutch fleet. The battle raged until sundown. The Duke of York (one of the English commanders) had to move his flag twice, after his flagships Prince and St. Michael were disabled and taken out of action. The Anglo-French fleet suffered 4 destroyed ships and lost approximately 2,500 sailors, while the Dutch fleet had 1 ship destroyed, 1 ship captured, and lost 1,600 sailors. The battle ended in a draw but was a strategic victory for the Dutch: it stopped the attempted costal blockade and prevented the landing of Anglo-French soldiers.

Willem van de Velde the Elder

Willem van de Velde the Elder (1610/11 - December 13, 1693) was a Dutch Golden Age marine painter and draughtsman. He is known for his precise drawings of ships and ink paintings of fleets. Born in Leiden, Van de Velde was for some time the official artist of the Dutch Fleet. His earliest works illustrate individual ships or the Dutch fleet at rest. His most celebrated works, however, are of contemporary naval battles, which he witnessed first-hand. He drew sketches during the battles that he then translated into meticulously detailed pen paintings (penschilderijen). He sailed with Admiral Marten Tromp during the First Anglo-Dutch War (1652 - 1654) and made several drawings, including at the Battle of Scheveningen. He was present at the Four Days' Battle (June 1-4, 1666) and the St. James's Day Battle (July 25, 1666) during the Second Anglo-Dutch War (March 4, 1665 - July 31, 1667). Dutch Admiral Michiel de Ruyter employed Van de Velde during the Four Days' Battle (of which 24 drawings survive) and again during the Third Anglo-Dutch War (March 27, 1672 - February 19, 1674) to document the Battle of Solebay (May 28, 1672). Van de Velde left Amsterdam for London during the winter of 1672 for unknown reasons. King Charles II awarded Van de Velde the Elder an annual salary of £100 for 'taking and making Draughts of Sea Fights,' and another £100 was granted to his son to color the Elder's work. Van de Velde remained in England for the rest of his life.

Chromolithography

Chromolithography, sometimes called oleography, is a color lithographic technique developed in the mid-19th century. The process uses multiple lithographic stones, one for each color, to yield a rich composite effect. Generally, a chromolithograph begins with a black basecoat upon which subsequent colors are layered. Some chromolithographs used 30 or more separate lithographic stones to achieve the desired effect. Chromolithograph color can be blended for even more dramatic results. The process became extremely popular in the late 19th and early 20th centuries when it emerged as the dominant method of color printing. The vivid color chromolithography made it exceptionally effective for advertising and propaganda.

Publication History and Census

This view was published by the Naval Records Society c. 1901. This piece is not cataloged in OCLC. We know of 2 instances when this piece has appeared on the private market, both at auction.