Cornelis Springer

Kunsthandel Goupil & Cie, acquired directly from the artist on 24 November 1873 for Dfl. 750,-
Sale Antwerp (Wijnen), 7 March 1927, lot 74
Kunsthandel M. Wolff, Amsterdam, inv.no. 1406
Sale Enschede (Paul Brandt), Mrs. H. Blijdestein-Morsman, 29 September 1965, lot 370
Private collection, Enkhuizen
Kunsthandel A.H. Bies, Eindhoven
Private collection, The Netherlands

G.R. Kruissink, 'Springer in Enkhuizen', Uit het Peperhuis, no. 4, June 1966, pp. 109-121, illustrated on p. 111
W. Laanstra. H.C. de Bruijn, Dr. J.H.A. Ringeling, Cornelis Springer (1817-1891), Utrecht 1984, cat.no. 73-11, p. 182

The panel is straight and solid. There is one superficial, minor hairline crack of circa 12 cm in the sky (horizontal), 2 cm above the rooftop of the house to the right. The crack is not visible on the back of the panel. One minor retouch in the sky just above the roof of the church on the left. Otherwise this work is in good condition.
"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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Cornelis Springer was the leading Dutch painter of townscapes in the 19th century. Starting his career as a painter of idealized town views (so-called capriccio's), he shifted his attention by the mid-1850's to topographical accurate views, which - as he noticed - were much more in demand. Springer was highly successful with his town views, which forced him to draw up a waiting list for his clients, which could mount up to no less than 2 years.

The beautiful town of Enkhuizen, which had fallen into economic decline in the 19th century, fascinated Springer more than any other Dutch town. Charmed by the historical atmosphere and architectural richness of the town, Springer made his first visit there in 1864. The next 20 years he returned there almost every year. No wonder a large part of his oeuvre is devoted to the picturesque fishing village on the Zuiderzee, where the glorious past of the VOC seemed to live on. In the 19th century the town attracted many painters, such as Willem Koekkoek, P.G. Vertin, Adrianus Eversen, W.B. Tholen and the brothers Albert and Jozef Neuhuys. The town possessed a lively artistic milieu, in which Springer played an important role as a highly reputed and famous painter of townscapes. 

In 1873, when Springer painted the present lot, he stayed in Enkhuizen for a long period of time. Kruissink suggests that Springer must have returned there several times in 1873. Half of the artist's total production of that year was devoted to views of Enkhuizen, the most important picture being a large view of the Westerstraat, which was sold in these rooms in April 2007 for a world auction record. Springer's paintings depict various parts of the town, but his greatest interest was with the most picturesque spots, like the Zuiderspui, Havendijk and Westerstraat. These locations he painted more than once, with a fine eye for historical detail. The richly decorated gabled houses furnished Springer with a great opportunity to display his painterly skills. He bathes his street scenes in warm sunlight, resulting in an interesting play of sunlit and shaded areas, thereby creating great depth in the picture. As the present lot shows wonderfully, Springer populated his scenes with many figures, which adds to the liveliness of his painting. The figures are engaged in different activities, some talking to each other, others walking the street or taking their ease. These genre-like scenes are all painted masterfully, unequalled by any townscape painter of his time.

The image of Enkhuizen as a lively and crowded town was very much a product of the artist's imagination. In reality the town experienced a period of great decline in the 1870's. The population had diminished from 60.000 to 5.000 inhabitants, the harbor was deserted and the streets were empty. Some parts of the town had even fallen into decay, as the French writer Henry Havard noticed in his book La Hollande pittoresque. Voyages aux villes mortes du Zuiderzee (Paris 1874). Interestingly enough, Havard visited Enkhuizen in exactly the same year Springer painted the present lot. It is therefore clear that Springer, enchanted by the beauty of the town, wanted to show Enkhuizen at its very best, in full glory, which justified some romantic embellishment.

The present lot is a great example of the artist's unsurpassed virtuosity. Every aspect is rendered in meticulous detail, while the clever distribution of shaded and sunlit areas renders a great clarity and warm atmosphere to the scene.

A preparatory sketch for the present lot, dated May 1873, was in the collection of W.S. van Dok, Enkhuizen (See Kruissink, 1966, p. 113, illustrated). As the sales records the artist kept indicate (see illustration), Springer sold the painting on 24 November 1873 to the art dealer Goupil & Co in Paris for the amount of Dfl. 750,-.

A handwritten label with the artist's seals on the reverse reads: Le sousigné declare que ce tableau representant l'église Occidentale a Enkhuizen Pays Bas est peint par lui. Amsterdam, le 12 Nov. 73. C. Springer