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Lot Essay
Cornelis Springer, the greatest Dutch architectural painter of the 19th Century, grew up in a family of architects and building contractors in Amsterdam. His brother Hendrik taught him the art of architectural drawing at an early age. Inspired by his tutor Kaspar Karsen (1810-1896) from whom he received lessons from 1835 until 1837, Springer initially painted fantasy town views which followed the contemporary trend of idealising the past and recreating a national heritage. From the early 1850's onwards, Springer abandoned the fantasy element in his work and concentrated on existing topographical locations, following an increasing interest in topographical accuracy from collectors at the time.
Springer was a diligent worker who carefully recorded his studio activities. His notebooks reveal exactly how many days he worked on a particular painting and even in which part of the day he worked on it. From 1852 onwards he recorded all the sales of his paintings and watercolours. During his many travels through Holland, Germany and Belgium, he would produce detailed architectural sketches which formed the basis for his compositions. This preparatory material clearly illustrates how the artist developed his theme: after drawing a sketch on location, he subsequently executed a black and white chalk drawing in his studio with the measurements intended for his final oil painting. To this 'composition-study', the artist added figures and adapted the architectural details according to his fancy.
From the 1850's onwards Springer had reached such fame that he only worked on commission for private collectors and art dealers. A waiting list of two years in this period was testimony to the great popularity of his work. A patron would choose a composition on the basis of the sketches, after which Springer would paint the version in oil.
In the 1860's Springer reached the height of his career and the present painting, dated 1866, is a wonderful display of all the qualities for which he is admired. Three years earlier, in 1863, Springer had already produced a sketch and an oil painting from the same vantage point in the Nieuwstraat in the Dutch town of Hasselt, looking towards the St. Stephanus church and with the Town Hall in the distance on the right (see illustrations). (For the version in oil, see: Pieter A. Scheen, Lexicon Nederlandse Beeldende Kunstenaars, 1750-1950, The Hague 1970, no. 197, for the drawing, see: Willem Laanstra, Cornelis Springer, Geschilderde steden, Amsterdam 1994, p. 127, no. T63-3.)
In comparisson with the earlier versions, it becomes apparent that Springer has altered various compositional elements. The capriccio facades on the left have been beautified and the church tower has become more prominent. Furthermore, additional figures have been added, like the large group of figures in the distance, with amongst them a lady wearing a conspicuous pink dress, and a woodcutter at work in the foreground, creating a very lively and animated atmosphere.
Springer's masterful treatment of light, complete with visible rays of light in the distance and a superb play of light and shadow within the architectural elements make this an outstanding painting within the artists oeuvre. The appearance at auction of this remarkable painting, which is in pristine condition and has not been offered on the art-market for nearly fifty years, is an important event indeed.
Springer was a diligent worker who carefully recorded his studio activities. His notebooks reveal exactly how many days he worked on a particular painting and even in which part of the day he worked on it. From 1852 onwards he recorded all the sales of his paintings and watercolours. During his many travels through Holland, Germany and Belgium, he would produce detailed architectural sketches which formed the basis for his compositions. This preparatory material clearly illustrates how the artist developed his theme: after drawing a sketch on location, he subsequently executed a black and white chalk drawing in his studio with the measurements intended for his final oil painting. To this 'composition-study', the artist added figures and adapted the architectural details according to his fancy.
From the 1850's onwards Springer had reached such fame that he only worked on commission for private collectors and art dealers. A waiting list of two years in this period was testimony to the great popularity of his work. A patron would choose a composition on the basis of the sketches, after which Springer would paint the version in oil.
In the 1860's Springer reached the height of his career and the present painting, dated 1866, is a wonderful display of all the qualities for which he is admired. Three years earlier, in 1863, Springer had already produced a sketch and an oil painting from the same vantage point in the Nieuwstraat in the Dutch town of Hasselt, looking towards the St. Stephanus church and with the Town Hall in the distance on the right (see illustrations). (For the version in oil, see: Pieter A. Scheen, Lexicon Nederlandse Beeldende Kunstenaars, 1750-1950, The Hague 1970, no. 197, for the drawing, see: Willem Laanstra, Cornelis Springer, Geschilderde steden, Amsterdam 1994, p. 127, no. T63-3.)
In comparisson with the earlier versions, it becomes apparent that Springer has altered various compositional elements. The capriccio facades on the left have been beautified and the church tower has become more prominent. Furthermore, additional figures have been added, like the large group of figures in the distance, with amongst them a lady wearing a conspicuous pink dress, and a woodcutter at work in the foreground, creating a very lively and animated atmosphere.
Springer's masterful treatment of light, complete with visible rays of light in the distance and a superb play of light and shadow within the architectural elements make this an outstanding painting within the artists oeuvre. The appearance at auction of this remarkable painting, which is in pristine condition and has not been offered on the art-market for nearly fifty years, is an important event indeed.