After the early demise of his tutor marine painter Louis Meyer (1809-1866), Klinkenberg studied with Christoffel Bisschop (1828-1904). Growing up in The Hague, Klinkenberg had started with his lessons at the age of fourteen. It was mostly Bisschops influence, that resulted in the infusion of Klinkenbergs work with it's well known play of light. These sunlit effects, also clearly visible in the present lot, are the result of his attractive and bright palette. From 1876 onwards Klinkenberg specialized in town views and concentrated on a well balanced composition. This was often achieved by the right point of view from which to render a specific group of building. The compositional art of the capriccio or fantasy city view was sometimes used but often he embellished slightly but never strayed far from the truth. Klinkenberg was fascinated by the city of Amsterdam. The diverse architecture of the city enthralled him. So enraptured by the city was Klinkenberg that he moved there in 1887 to stay for 6 years.
The present lot can be seen as one of his most monumental works, both in size and subject. The quay is bustling with activity and even in the distance the spectator is treated to the overall hustle and bustle of city life. The Schreierstoren, a tower linked with Amsterdam and its women who had traditionally said goodbye to their men as they sailed for the Orient there, is nearly placed in the middle of the composition. Majestically towering over all buildings is the St Nicolaas church. Through the slight glimmer on the water and the light on the gables of the buildings a remarkable sense of a summers day in Amsterdam is achieved.