Jan Hendrik Weissenbruch Dutch, 1824-1903

Collection J. Slagmulder, Amsterdam 1906
Collection W.F. van Heukelom, Amsterdam 1937
Sale Amsterdam (Frederik Muller), 12 October 1937, lot 36
Collection B. de Geus van den Heuvel, Nieuwersluis aan de Vecht
Sale Amsterdam (Sotheby's Mak van Waay), 26-27 April 1976, no. 334
Kunshandel P.A. Scheen, The Hague

Rotterdam, Levende Meesters, 1864, no. 543
Amsterdam, Arti et Amicitiae, Eere-tentoonstelling van kunstwerken van Hollandsche meesters, ter gelegenheid van de Rembrandt-herdenking, 1906, no. 202
Amsterdam, Stedelijk Museum. Regeringsjubileum 1898-1923. Tentoonstelling van Nederlandsche beeldende kunsten, 1923, no. 413
Amsterdam, Kunsthandel F. Buffa & Zn., Johan Hendrik Weissenbruch 1824-1903, 1933, no. 12
Dordercht, Dordrechts Museum, Ons Element, 1951
Schiedam (?), Stedelijk Museum, December 1951-January 1952, no. 85
Amsterdam, Stedelijk Museum, Van Romantiek tot Amsterdamse School Schilderijen uit de collectie B. de Geus van den Heuvel, 1958, no. C25
Laren, Singer Museum, Jan en Johan Hendrik Weissenbruch, Schilderijen, Aquarellen, Grafiek, 1960-1961, no. 59
Breda, Cultureel Centrum de Beyerd, Jan en Hohan Hendrik Weissenbruch, Schilderijen, Aquarellen, Grafiek, 1960, no. 57
Laren, Singer Museum, Schilderkunst uit La Belle Epoque, 1964, no. 98
Laren, Singer Museum, Keuze uit de Collectie B. de Geus van den Heuvel. Schilderijen, Aquarellen, 18de-20ste eeuw, ter gelegenheid van zijn tachtigste verjaardag, 1966, no. 116
Paris, London, The Hague, De Haagsche School, Hollandse Meesters van de 19de eeuw, 1983, no. 127, p. 277, illustrated in colour on p. 289
The Hague, Pulchri studio, Johan Hendrik Weissenbruch een overzicht van zijn oeuvre, 24 May-14 June 1992, no. 52
Amsterdam, Rijksmuseum, Langs velden en wegen. De verbeelding van het landschap in de 18de en 19de eeuw, 28 November 1997- 3 March 1998, no. 72
Oss, Museum Jan Cunen, J.H. Weissenbruch 1824-1903, 7 November 1999-6 February 2000, no. 17
The Hague, Gemeente Museum Den Haag, J.H. Weissenbruch. Voorbij de Haagse School, 19 February-21 May 2000, no. 17

Kunstkronyk, VI (1865), p. 48
Kunstkronyk, VIII (1967), pp. 8 (illustrated on p. 6, a lithograph after Landschap in de omstreken van Boskoop)
G. Knuttel Wzn., De Nederlandsche schilderkunst van Van Eyck tot Van Gogh, Amsterdam 1938 (1950, p. 434, illustrated)
H.E. van Gelder, J.H. Weissenbruch, Amsterdam 1940 (Paletserie), p. 20, p. 31 illustrated
H. Lunsing Scheurleer, Sprekend verleden, Amsterdam 1959, p. 25
J. de Gruyter,  De Haagse School, Rotterdam, 1968-1969, part I, p. 68, 75
P.A. Scheen, Lexicon Neederlandse Beeldende Kunstenaars, 1750-1880, The Hague 1981, ill.no. 645
J. Sillevis, 'Weissenbruch terug in Pulchri', Tableau, summer 1992, illustrated
' "Licht en lucht, dat is de kunst"', Kunstwerk, summer 1992, p. 27, illustrated in colour
'Johan Hendrik Weissenbruch een overzicht van zijn oeuvre', Pulchri Magazine, 1992, p. 34 illustrated
M. Jager, 'Overzicht landschapskunst 18de en 19de eeuw. Bijen zoemen in het Rijksmuseum', De Telegraaf, 28 november 1997, p. 13, illustrated
E. Jacobs, H. Janssen , M. van Heteren, J.H. Weissenbruch 1824-1903, Zwolle 1999, cat.no. 17, p. 31 illustrated in colour
M. Jager, 'Museum Jan Cunen eert schilder van het Hollandse landschap. De 'mokerslagen' van J.H. Weissenbruch', De Telegraaf, 5 november 199, p. 17, illustrated
W. Laanstra, S. Ooms, J.H. Weissenbruch, 1824-1903, Amsterdam 1992, no. O/49-2, p. 120, illustrated. Illustrated in colour on p.19

Weissenbruch had the habit of only rarely dating his pieces. Thus determining an exact chronology of his work is often a problem, although it is possible to find some progress in his approach by means of stylistic comparison. The style of Zonsondergang bij Boskoop belongs to the earlier work of Weissenbruch although we must acknowledge that it cannot be considered a very early work. Until far into the 1870s, Weissenbruch held on to a detailed sometimes even graphic style with various light effects. Later, he displays a more transparent style, painted freer with a minimum of details and a division of surfaces that sometimes almost strikes as geometrical. 

Because Zonsondergang bij Boskoop is mentioned in the catalogue of the exhibition Levende Meesters in Rotterdam in 1864 and because of the publication of a litho of this painting in the journal Kunstkronyk in 1867, it is possible to put the date of 1864 to this piece. Weissenbruch had applied himself to depicting the contre jour effect of the setting sun and a cloudy sky. The light reflects in the waterway. The towpath meant for the horses that pull the track boat winds in the foreground. On the path, we see a towman, a rider, his horse and dog. The barge in the water is not a track boat because the boatswain moves his vessel on with a pole. The effect of the silhouette of the mill against the evening sky is absolutely splendid.

During this period, Weissenbruch often worked in the surroundings of Boskoop and he would then stay with the grower Van Heyningen.