Collection Online

In springtime
(Im Frühling)

oil on canvas
104.5 × 78.0 cm
Accession Number
International Painting
Credit Line
National Gallery of Victoria, Melbourne
Felton Bequest, 1977
Gallery location
19th Century European Paintings Gallery
Level 2, NGV International

Frau Senator Berg, Freiburg Berg Collection, Munich Lotter Collection, by 1898 collection of Friederich Eckstein, London, 1902 (possibly by descent to) Ludwig Eckstein, London collection of F. Hodson Esq., London included in Sotheby’s sale, London, 19 May, 1976, lot no. 15 as ‘Summer’ as property of F. Hodson Esq. bought by Fischer Fine Arts, London (dealer), exhibited ‘Universe of Art V’, November 1976 purchased from Fischer Fine Arts, London, for the Felton Bequest on the advice of Dr Hoff, 1977.


In springtime (1873)
Konrad Barth & Comp.

The frame is made from a combination of cast plaster and composition ornaments on a wooden chassis. The back frame is lap-joined at the corners; the working edge is formed by the addition of timber battens. The basic profile is likely to be simpler than the finished form of the frame suggests. The frieze ornament is unmarked by cracking, making it difficult to see the actual method used in construction. It is not carved timber, though it clearly is intended to appear as though it were. The undercut of the ornament toward the leading edge suggests the use of a complex method of casting or moulding. A similar comment can be made about the other frame in the collection by Barth. The cavetto at the sight edge is burnished gold on a red bole, as is the hollow at the base of the frieze ornament. The rest of the surface appears to be water gilded.


The frame is in good condition and appears to retain the original surface.

134.5 x 108.5 x 15.0 cm; sight 105.0 x 78.0 cm
In springtime (1873) Arnold BÖCKLIN
In springtime (1873) (colourman)

This frame is almost certainly one designed by the artist.1 Böcklin is known to have had a specific interest in the frames on his pictures and to have provided designs for frame makers to build.2 The painting came to the collection in this frame. The maker is recorded on each side of the reverse with an ink stamp.3


1 See comments by Laurie Benson in 19th Century Painting and Sculpture, NGV, 2003, p. 63.

2 For a full account of Böcklin’s approach to framing his paintings the reader is referred to Eva Mendgen, ‘Patinated or Burnished, Picture and Frame in the work of Leuback and Böcklin’, in In Perfect Harmony, Van Gogh Museum, 1995.

3 The stamp transcribes as: KONRAD BARTH & COMP. MUNCHEN. Vergolderwaaren-Geschaft.