Johannes Bosboom (Dutch, 1817-1891)
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Johannes Bosboom (Dutch, 1817-1891)

Poortje van het Oude Vrouwenhuis, Hoorn

Details
Johannes Bosboom (Dutch, 1817-1891)
Poortje van het Oude Vrouwenhuis, Hoorn
signed 'J Bosboom.' (lower right)
oil on panel
17 x 13 cm.
Provenance
Kunsthandel M. Wolff, Amsterdam, year unknown.
J. Blaauboer, Amsterdam.
Anon. Sale, Mak van Waay, Amsterdam, 1 May 1951, lot 16.
Kunsthandel Pieter A. Scheen, The Hague, 1951.
Special notice

Christie's charges a Buyer's premium calculated at 23.205% of the hammer price for each lot with a value up to €110,000. If the hammer price of a lot exceeds €110,000 then the premium for the lot is calculated at 23.205% of the first €110,000 plus 11.9% of any amount in excess of €110,000. Buyer's Premium is calculated on this basis for each lot individually.
Post lot text
VARIOUS PROPERTIES
Sale room notice
Please note the following additional literature:
Pieter A. Scheen, Lexicon Nederlandse Beeldende Kunstenaars 1750-1950, 1969, I, pl. 189.

Lot Essay

It is generally assumed that the present lot was executed in 1836, when Bosboom was only 19 years old. He had just finished his training in the studio of the painter of topographical views Bart van Hove (1790-1880) after a period of four years and had started to work for himself. In this period he executed various pictures of views in and around The Hague. The gate in the present lot is similar to the 'Poortje Oude Vrouwenhuis' at the Kerkplein in Hoorn. Although 'Scheveningen' is scratched in the paintlayer above the church-door, the coat-of-arms of Hoorn - the Unicorn - strengthen the theory that the gate depicted is that of Hoorn. It has also been suggested that the present lot is a cappriccio view in which the gate of Hoorn is pasted against the Noorderkerk of Hoorn. This self-constructed composition is still under the influence of Van Hove who was a well known painter of theatrical decors. The emphasis on the decorative elements of the gate and the various plans which guide the spectator into the scene in the church, betrays Bosboom's artisitic theatrical training.
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