Cornelis Springer

Private collection, The Netherlands

The canvas has been relined. Minor retouches in the sky above the church near the upper right part. Sauced-in area in the lower left part of the sky ( the yellow cloud) just above the buildings. Small scattered retoouches in the dark tones of the lower part and the church
"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."

In the nineteenth century, town views were very popular in Dutch painting. Cornelis Springer was by far the most accomplished painter of this genre. He was raised in a family of building contractors and mastered the principles of architectural drawing and perspective at an early age. After completing his studies at the Amsterdam Academy, Springer served his apprenticeship with Kaspar Karsen, a painter specialised in town views. Under his guidance he refined his painterly skills. Like his teacher Karsen, with whom he studied from 1835 till 1837, Springer painted predominantly fantasised town views (so-called capriccio's) in the early years of his career.

As can be deduced from the sales records the artist kept (Rijksprentenkabinet, Amsterdam), Springer painted only eleven paintings between 1834 and 1840, four of which were executed on the same size as the present lot. The similarities between the present lot and the town views he painted in the late 1830's are striking (compare Laanstra, no. 39-3 and 39-4). The way he structures the composition, the distribution of light and shadow along diagonal lines and the placing of the figures are all typical elements. Canals, bridges and boats play an important part in these early town views, for which the artist clearly must have found his main inspiration in his hometown Amsterdam.

Although many of these early town views originate in the imagination of the artist, they were based on studies of existing situations. A sketchbook from the early 1830's (Teylers Museum, Haarlem) preserves some studies of the north entrance of the Oude Kerk in Amsterdam. These sketches can be linked to the present lot. With some changes here and there, Springer integrated the entrance of the Oude Kerk in the Gothic church depicted on present lot (see J. Schaeps, Cornelis Springer als tekenaar, Haarlem 1990, p. 71).