Petrus van Schendel

Averilla van Ryswick Lambert (1848-1918), Maryland, USA
Wilton Lambert (1871-1935) and Elizabeth Gorman Lambert (1876-1959) (by descent from the above)
British Private Collection (by descent from the above; sale: Sotheby's, London, 16 November 2005, lot 259)
MacConnal-Mason Ltd., London
Purchased from the above by the present owner

The overall appearance of the work under normal light is good and it is ready to hang. The panel is flat, even and stable. As faintly visible in the catalogue illustration there are some light surface scuffs which appear to be in the varnish only, notably in a cross above the central seller's head and in the back of the man to the left of him. As is typical for works by van Schendel the old varnish layers fluoresce opaquely and unevenly making the surface difficult to read however a number of retouchings are visible principally in the background rather than the figures, notably a 6 by 5cm area in the dark pigments towards the lower-right corner and a smaller area to the right of this, a small area in the lower part of the red dress of the woman to the right, small areas above the head of the woman wearing the bonnet to the left, and a number of areas of strokes addressing old patterns of paint shrinkage, notably in the lower centre of the sky and in the buildings just below this, and in the face of the building with the stepped gable to the right. The colours in reality are quite 'warm', but without the orange-yellow cast as in the catalogue illustration. Presented in a Dutch-style wood frame with a nameplate.
"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."

Centring on an animated street hawker selling cutlery, pipes, and assorted trinkets, this market scene is a rare and interesting departure from Schendel's usual depictions of vegetable and fish sellers. A girl bargains with him over a jewellery box while another customer peruses his offerings. In the background, other stalls, including a cheese seller's booth in the right background, are lit by their own light sources. 

The market is the Noordermarkt in Amsterdam, with the tower of the Noorderkirk in the background. The church was designed by the famous architect Hendrik de Keyser in 1620, and was completed in 1623. The house to the right with the distinctive stepped gable is the well known corner house in Prinsengracht. Van Schendel, for compositional reasons, brought the two buildings closer together than they really are. As always, topograhical accuracy came second to van Schendel's interest in the effects of candle and twilight on figures, faces, and objects, which earned him the nickname 'Monsieur Chandelle'. The chiaroscuro effects in the present work are masterful, from the warmly glowing faces to the backlit dog, barrow and jug in the foreground.

It is likely that the present painting was bought directly from the artist, whose work was already well known and in demand by 1840.  Schendel enjoyed great popularity in the United States even during his own lifetime, and the present work found its way into an American collection by around 1870.