How you can use this image
This image can be used for non-commercial research or private study purposes, and other UK exceptions to copyright permitted to users based in the United Kingdom under the Copyright, Designs and Patents Act 1988, as amended and revised. Any other type of use will need to be cleared with the rights holder(s).
Review the copyright credit lines that are located underneath the image, as these indicate who manages the copyright (©) within the artwork, and the photographic rights within the image.
The collection that owns the artwork may have more information on their own website about permitted uses and image licensing options.
Review our guidance pages which explain how you can reuse images, how to credit an image and how to find images in the public domain or with a Creative Commons licence available.
Add or edit a note on this artwork that only you can see. You can find notes again by going to the ‘Notes’ section of your account.
The artist Jacob Knyff specialised in topographical landscapes. In 1670 he had a studio in Paris, but he moved to England in 1672, when Charles II invited Dutch artists to work in Britain, and lived there until 1681.
In the harbour to the left the shipping might also serve, in this particular case, to illustrate different types of interest rather than to illustrate a particular event, such as the formerly suggested embarkation of Catherine of Braganza for England to marry Charles II. The ships include an English three-decker, a French and a Papal galley, as well as a Dutch ship and other vessels. The staffage figures in the meeting and greeting scene on the quayside in the foreground are both Ottoman and European. Such a mixture of ‘exotic’ costumes is typical for seventeenth-century harbour scenes.
oil on canvas
H 284.5 x W 485 cm