Beschreibung:

Jan Josefsz. van Goyen (Dutch 1596-1656) An estuary landscape on the Rhine with square tower and tall gallows signal Oil on panel Signed with monogram and dated 1652 lower left 38 x 55.5cm (14¾ x 21¾ in.) Literature: Volhard, Hans, Die Grundtypen der Landschaftsbilder Jan van Goyens und ihre Entwicklung (Frankfurt: 1927, p. 182) Hofsete de Groot, Cornelius, A Catalogue raisonne of the most eminent Dutch painters of the Seventeenth Century: Based on the Work of John Smith (London: Macmillan & Co, 1908-27) no. 811 Beck, Hans-Ulrich, Jan van Goyen 1596-1656: ein Oeuvreverzeichnis (Amsterdam: van Gendt, 1972) Vol II, no. 706, p. 322. Illustrated.Provenance: Sale, Valadon & Co., New York, 26 February 1902, Lot 207 (sold for $375) Dowdeswell, London UK private collection, Sir Charles Turner London Sale, Berlin, Germany, 17 November 1908, Lot 29 (sold for Mk 5600) Paul Cassirer, Berlin by 1918 Hungarian private collection, M. von Nemes, Budapest Sale, Munich, Germany, 16 June 1931, Lot 47 (sold for Mk 6900) Belgian Private Collection, Stern, Brussels The present owner's grandfather, private collection, Munich; thence by descent Possibly held in storage in Zurich Private Collection, Holland by 1970s; thence by descent to the present owner Jan van Goyen was born in Leiden in 1596, and trained in Haarlem with Esaias van de Velde He was one of the pioneers in depicting the naturalistic landscape in early 17th century Holland, travelling extensively in The Netherlands and beyond. Goyen moved to The Hague in 1631, where he remained until his death in 1656. To support his family Goyen worked as an auctioneer, real-estate investor and art advisor. Goyen also turned to dealing in tulip bulbs imported from Turkey, but suffered severe financial losses when the tulip market crashed in 1637.The present lot depicts a watch tower with gallow signal on the Rhine near Lobith and Schenkenschanz, a view that Goyen often repeated (see Beck reference 704 for comparable view, dated 1651). The present lot is a fine example of Goyen's skillfull manipulation of tonal variations. Through a limited colour palette Goyen was able to render natural light and subtle atmospheric effects in shades of brown, green and grey. His use of a low horizon gives the illusion of a broad expanse focusing the eye on the sky. Next to the watch tower is a small tavern in front of which people congregate to chat. Behind the tower is a cannon aimed ready for flight. In the distance sailing and rowing boats can be seen with a church beyond. There is a barge with four fisherman in the foreground and the artist has signed and dated the work 1652 to the side of the barge.The present lot was sold at auction in New York in 1902, where it was acquired by art dealer Charles William Dowdeswell (1832-1915) of London. Dowdeswell owned and ran a frame-making business in Chancery Lane and in 1878, Charles and his son, Walter opened the art dealership Dowdeswell and Dowdeswell. The gallery was one of the first to promote French Impressionism in London and in 1883 hosted the exhibition Societe des Impressionistes. The gallery closed down in 1912, when Walter Dowdeswell joined art dealer Joseph Duveen.Dowdeswell gallery sold the present lot to London collector Sir Charles Turner who subsequently sold the work in Berlin in 1908. In 1918, the work is known to have been with the renowned German art dealer Paul Cassirer (1871-1926) who played a significant role in the promotion of French impressionist and post-impressionist artists in particular Vincent Van Gogh and Paul Cezanne. The work was sold at auction in Munich in 1931, and bought by a private collector in Brussels.It is likely that the present owner's grandfather purchased this work sometime between 1931 and 1936. The owner, who lived in Munich, fled to Zurich from Germany in 1933, as Hitler came into power. In 1936, he put many of his family's possessions in storage before moving to Milan for about a year until Mussolini started making all