JAN JOSEFSZ. VAN GOYEN (LEIDEN 1596-1656)
JAN JOSEFSZ. VAN GOYEN (LEIDEN 1596-1656)
JAN JOSEFSZ. VAN GOYEN (LEIDEN 1596-1656)
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Property from the Museum of Fine Arts, Boston
JAN JOSEFSZ. VAN GOYEN (LEIDEN 1596-1656)

A river landscape with a watchtower and cannon on a bank and ferry boats and sailing ships in the distance

Details
JAN JOSEFSZ. VAN GOYEN (LEIDEN 1596-1656)
A river landscape with a watchtower and cannon on a bank and ferry boats and sailing ships in the distance
signed in monogram and dated 'VG 1644' (lower left, on the boat)
oil on panel
16 7⁄8 x 29 ¾ in. (42.8 x 75.7 cm.)
Provenance
Count André Mniszech (1823-1905), Paris.
with Wildenstein, Paris, by circa 1920.
D. Hermsen, The Hague, by 1925.
with P. de Boer, Amsterdam, by 1929 until at least 1931.
with Asscher and Welker, London; circa 1931-1937, where acquired by,
Georg Schicht (1884-1961), London, and by whom brought to the United states in 1937.
with John Nicholson Gallery, New York, by 1946 (stock no. 1923), where acquired for $4,500 by the Museum of Fine Arts, Boston, on 13 March 1947.
Literature
Advertisement, Pantheon, December 1929, p. xxix, illustrated.
W. Stechow, Dutch Landscape Painting of the Seventeenth Century, Ithaca, 1966 and 1981, p. 29.
H.-U. Beck, Jan van Goyen 1596-1656, II, Amsterdam, 1973, p. 341, no. 757, illustrated.
A.R. Murphy, European Paintings in the Museum of Fine Arts, Boston: An Illustrated Summary Catalogue, Boston, 1985, p. 122, illustrated.
P.C. Sutton, A Guide to Dutch Art in America, Washington, D.C., 1986, p. 29.
Exhibited
Amsterdam, Kunsthandel Pieter de Boer, 1930, no. 41.

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Taylor Alessio
Taylor Alessio Junior Specialist, Head of Part II

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Lot Essay

Jan van Goyen returned to the theme of the watchtower on the river banks on a number of occasions. Two similar panels from the same period, with differences to the boats in the foreground, have come to market in recent years; one dated 1640 (Christie's, Amsterdam, 14 November 2007, lot 135) and another dated 1650 (Christie's, London, 8 December 2021, lot 107). By the 1640s, van Goyen adopted a monochromatic palette, using golden browns create naturalistic landscapes like the one here, though Van Goyen's golden tones break into silvery-blues in the sky, river and distant shore of this landscape.

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