Leo Gestel (1881-1941)

Laren, Singer Museum Laren, Mondriaan, Breitner, Sluijters e.a., De onstuitbare verzamelaar J.F.S. Esser, no. 14, p. 83, illustrated in colour

Four pin holes along the upper edge (as can be seen in the illustration). Surface dirt (which can easily be cleaned). Otherwise 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."

The physician Johannes Fredericus Samuel Esser (187-1946) has been an early collector of works by Dutch artists around the turn of the 19th century. In Amsterdam Esser was Maecenas of a group of artists such as Breitner , Witsen, Israels, Gestel, Sluijters and Mondrian.

Esser met Gestel probably through his friendship with Jan Sluijters and as with the latter they became friends. Esser's collection of paintings and works on paper shows the development of Leo Gestel, starting in the 1900's with classicism, moving on to impressionism, luminism and finally cubism represented by a beautiful harbor of Mallorca painted in 1914. The painting offered here for sale from 1909 is very typical for Gestel's luministic period.

 

To choose a construction field as an independent subject matter was at that time still very unacademic and therefore very avant-gardistic. Just as his colleague Sluijters he took these kinds of unusual and in that time 'undignified' subjects and by using bright and sunny colours in a vived brushstroke turned them into a lovely urbanized landscape.

 

Esser was interested in innovative and controversial art and the present work suits perfectly into his collection.