Coastal Scene with the Embarkation of Goods

anonymous, 1625 - 1699

  • Artwork typedrawing
  • Object numberRP-T-1931-168
  • Dimensionsheight 208 mm x width 363 mm
  • Physical characteristicspen and brown ink, with brown wash, heightened with white chalk, and corrections in opaque white (partly oxidized), on brown paper

anonymous, after Philips Wouwerman

Coastal Scene with the Embarkation of Goods

1625 - 1699

Inscriptions

  • inscribed on verso: upper left, in pencil, 8009; upper centre, in an eighteenth- or nineteenth-century hand, in brown ink, E / N 3; lower left, in pencil (encircled and partly erased), 1948; lower right, in pencil, Ph. Wouwerman

  • stamped on verso: centre, with the mark of the museum (L. 2228)

Technical notes

watermark: none visible through lining

Condition

Laid down on decorated mount; vertical folds at centre and at right; brown spots in sky and along edges

Provenance

…; collection Herbert H. Newton (1881-1959), London; by whom donated to the museum (L. 2228), 1931

Object number: RP-T-1931-168

Credit line: Gift of H.H. Newton, London

The artist

Biography

Philips Wouwerman (Haarlem 1619 - Haarlem 1668)

He was born as the eldest son of the Reformed history painter Pouwels Joostensz Wouwermans (c. 1580/85-1642) and his fourth wife, Susanna van den Bogert (1591-in or after 1644), and was baptized in Haarlem on 24 May 1619.1Haarlem, Noord-Hollands Archief, DTB 6, fol. 340. His grandfather, Joost Philipsz Wouwerman (?-?), had emigrated from Flanders to Haarlem around 1580. It seems likely that Philips was initially trained by his father, who was called a painter of moderate kind (‘van geringe sort’) by Houbraken.2A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), p. 70. According to De Bie, Philips was an apprentice of Frans Hals (1582/83-1666),3C. de Bie, Het gulden cabinet vande edele vry schilder-const, Antwerp 1661-62, p. 281: ‘Hy heeft gheleert by Franchois Hals’. although their work has nothing in common. An apprenticeship with Pieter Cornelisz Verbeeck (c. 1600-1654) is suspected on stylistic grounds.

In 1638, Wouwerman travelled to Hamburg at the age of nineteen, against the will of his parents, to marry the Catholic girl Anna Pietersdr van Broeckhof (?-1670), and there he apparently worked with the now unknown local history painter Evert Decker (?-1647).4According to a biography of Wouwerman written in 1679 by the Hamburg artist Matthias Scheits (c.1625/30-c. 1700), who had been his pupil in Haarlem in the 1640s; A. Lichtwark, Matthias Scheits, als Schilderer des Hamburger Lebens, 1650-1700, Hamburg 1899, pp. 43-44; I. van Thiel-Stroman in P. Biesboer and N. Köhler (eds.), Painting in Haarlem, 1500-1850: The Collection of the Frans Hals Museum, coll. cat. Haarlem 2006, p. 359 (n. 20). By 1640 at the latest, Philips had returned to Haarlem, because he entered the Guild of St Luke on 4 September of that year and was elected to the office of warden in 1646. Between 1642 and 1655 he served in the Old or St George civic guard.

Apart from his journey to Hamburg, it seems that Wouwerman never travelled South, as was suggested by some.5See, for example, C. Hofstede de Groot (ed.), Beschreibendes und kritisches Verzeichnis der Werke der hervorragenden holländischen Maler des XVII. Jahrhunderts, 10 vols., Esslingen 1907-28, II (1908), pp. 249-50. The influence of the Haarlem artist Pieter van Laer (1599-1642), who had returned from Rome in 1639, is evident in Wouwerman’s early works of around 1640. Although Houbraken reports that Wouwerman got hold of Van Laer’s drawings after the latter’s death in 1642 after a dispute between the two artists and that Wouwerman burned these (or his own drawings) on his deathbed some decades later,6A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), p. 75. this anecdote must be doubted. Nevertheless, Van Laer’s influence on Wouwerman’s work is evident.

Wouwerman’s earliest dated picture is a Military Encampment with Soldiers Gambling of 1639 in a private collection7B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter of the Golden Age, 2 vols., Doornspijk 2006 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 20), no. A326. Wouwerman is mainly known as a successful painter of equine subjects and depictions of horses in battles, hunts, riding schools, stables, forges and encampments, of which many have a genre-like character. He also produced some rural scenes, winter landscapes, marines, dune and beach landscapes. Wouwerman made several history pieces with religious subjects for Catholic patrons. His known oeuvre is very large. In his catalogue raisonné of 1908, Hofstede de Groot included over a thousand paintings, while Schumacher in her monograph of 2006 lists almost six hundred paintings. The few surviving drawings by his hand are usually considered independent works for the art market and lack a connection to known paintings.8Nevertheless, more extant drawings are known than would be expected, given Houbraken’s anecdote that Wouwerman burned his drawings on his deathbed. In eighteenth-century inventories and sale catalogues references can be found to Wouwerman’s drawn works, cf. Q. Buvelot and S. Alsteens, ‘A Rediscovered Drawing by Philips Wouwerman’, Master Drawings 51 (2013), no. 4, pp. 445, 449 (n. 2, 4); A. Stefes, ‘Did Philips Wouwerman Draw with Red Chalk?’, Master Drawings 57 (2019), no. 4, pp. 453, 470 (n. 9-11). Despite the large output, Wouwerman maintained a stable level of quality throughout his oeuvre, but unfortunately only a fraction of his paintings is dated.

Philips’s two younger brothers, Pieter Wouwerman (1623-1682) and Jan Wouwerman (1629-1666), were also trained as painters9Pieter was probably first an apprentice of his father Pouwels Joostensz Wouwermans, but Jan was more likely trained only by his brother Philips, as he was thirteen years old when his father died., and they were probably both at some point working in Philips’s workshop. Throughout his career, Wouwerman had several pupils. He paid, for example, for the apprenticeship of the now unknown artists Nicolaes Ficke (c. 1620-1702), Jacob Warnars (?-?) from Amsterdam and Kort Witholt (?-?) from Sweden in 1642, followed by Matthias Scheitz (c. 1625/30-c. 1700) from Hamburg in the late 1640s, Jan Verney (?-?) in 1653, and Antony de Haen (1640-in or before 1675?) and Hendrick Berckman (1629-1679) in 1656.

Wouwerman remained productive to the end of his life, with his last dated work, Grey Horse Standing in a Stable in a private collection (on loan to the Frans Hals Museum, Haarlem),10B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter of the Golden Age, 2 vols., Doornspijk 2006 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 20), no. A79. being executed in the year of his death. Wouwerman died on 19 May 1668 at the age of forty-two and was buried in the Nieuwe Kerk in Haarlem on the 23 May 1668.11Haarlem, Noord-Hollands Archief, DTB 76, fols. 365-66. His wife died two years later, leaving behind three adult daughters and three sons and a daughter, who were still minors. The sums of money mentioned in the deed dividing the estate among the children of 12 October 1670 indicate that the family must have lived in prosperity.12Haarlem, Noord-Hollands Archief, Notarieel Archief 374 (L. Baert), fol. 277. Their daughter Ledewina (1644/45-in or before 1678) married Henri de Fromantiou (1633/34-1693/1705), court painter of the Elector of Brandenburg, on 25 September 1672. Although Houbraken stated that she received a dowry of 20,000 guilders13Houbraken p. 71: ‘… dat hy met zyn Dochter, die aan den Konstschilder H. de Fromantjou trouwde, 20000 Gulden meê ten Huwelyk gaf.’, no archival evidence supports this and it seems unlikely, because the marriage took place four years after her father’s death. Wouwerman supplemented his income by speculating on the property market and dealing in art. However, there are also indications that he suffered bouts of poverty. For example, he is said to have painted his Conversion of St Hubert (1660), now in the collection of Lord Penrhyn at Penrhyn Castle, for the clandestine Sint-Bernarduskerk in Haarlem as thanks for the financial support he had received from the parish priest.14B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter of the Golden Age, 2 vols., Doornspijk 2006 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 20), no. A571.

In the eighteenth and nineteenth centuries, Wouwerman’s works were very sought after by aristocratic collectors, for example in St Petersburg, Dresden, The Hague and France, and fetched some of the highest prices for paintings from the Dutch Golden Age. This also motivated a lot of imitators, among them, for example, Pieter van Bredael (1629-1719) and his grandsons Jan Frans van Bredael (1686-1750) and Joseph van Bredael (1688-1739), Carel van Falens (1683-1733), Conrelis Vermeulen (1732-1813) and his son Andries Vermeulen (1763-1814) are known by name. Also, between the late 1650s or early 1660s and 1800, altogether some three hundred reproductive prints were made after Wouwerman’s paintings.15G. Wuestman, ‘Prints after Philips Wouwerman’, in F. Duparc and Q. Buvelot (eds.), Philips Wouwerman (1619-1668), exh. cat. Kassel (Gemäldegalerie Alte Meister, Museumslandschaft Hessen Kassel)/The Hague (Mauritshuis) 2009-10, p. 54. The extensive trade and circulation of prints of his work led to the widespread production of drawn copies after his paintings. Those drawings directly related to his paintings, especially figure and compositional studies in red chalk, are now thought to be copies.16A. Stefes, ‘Did Philips Wouwerman Draw with Red Chalk?’, Master Drawings 57 (2019), no. 4, pp. 453-72. His authentic drawings – often monogrammed and almost always executed in black chalk and grey wash – mirror the subject-matter of his paintings, but there is rarely, if ever, a direct link.

Gerdien Wuestman, 2019/Milou Goverde, 2020

References
T. Schrevelius, Harlemias, ofte, om beter te seggen. De eerste stichtinghe der stadt Haerlem, Haarlem 1648, p. 384; C. de Bie, Het gulden cabinet vande edele vry schilder-const, Antwerp 1661-62, pp. 281-82, 414; A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), pp. 70-75; A. van der Willigen, Les Artistes de Harlem: Notices historiques avec un précis sur la Gilde de St. Luc, Haarlem/The Hague 1870, pp. 336-40; F.D.O. Obreen, Archief voor Nederlandsche kunstgeschiedenis, 7 vols., Rotterdam 1877-90, VII (1890), pp. 118-26; A. Lichtwark, Matthias Scheits, als Schilderer des Hamburger Lebens, 1650-1700, Hamburg 1899, pp. 43-44; C. Hofstede de Groot (ed.), Beschreibendes und kritisches Verzeichnis der Werke der hervorragenden holländischen Maler des XVII. Jahrhunderts, 10 vols., Esslingen 1907-28, II (1908), pp. 247-659; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XXXIV (1947), pp. 265-68; H. Miedema, De archiefbescheiden van het St. Lukasgilde te Haarlem, 1497-1789, 2 vols., Alphen aan den Rijn 1980, I, p. 260, 392; II, pp. 488, 491-92, 508-09, 514, 519, 535, 543, 546, 549, 613-14, 673, 934, 1031-32, 1039, 1041, 1060; F.J. Duparc, ‘Philips Wouwerman (1619-1668)’, Oud Holland 107 (1993), no. 3, pp. 257-86; B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter of the Golden Age, 2 vols., Doornspijk 2006 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 20); P. Biesboer and N. Köhler (eds.), Painting in Haarlem, 1500-1850: The Collection of the Frans Hals Museum, coll. cat. Haarlem 2006, pp. 355-63 (entry van I. van Thiel-Stroman); F. Duparc and Q. Buvelot (eds.), Philips Wouwerman (1619-1668), exh. cat. Kassel (Gemäldegalerie Alte Meister, Museumslandschaft Hessen Kassel)/The Hague (Mauritshuis) 2009-10; Q. Buvelot and S. Alsteens, ‘A Rediscovered Drawing by Philips Wouwerman’, Master Drawings 51 (2013), no. 4, pp. 445-50; A. Stefes, ‘Did Philips Wouwerman Draw with Red Chalk?’, Master Drawings 57 (2019), no. 4, pp. 453-72

Entry

This badly damaged sheet is almost certainly a copy after a lost painting by Philips Wouwerman. According to Plomp,17M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, p. 471, under no. 564. the prototype was a picture described in 1908 by Hofstede de Groot as once in the collection of William Lowther, 1st Earl of Lonsdale (1757-1844),18C. Hofstede de Groot (ed.), Beschreibendes und kritisches Verzeichnis der Werke der hervorragenden holländischen Maler des XVII. Jahrhunderts, 10 vols., Esslingen 1907-28, II (1908), no. 997. However, the earlier and more comprehensive description of that painting (1842) by John Smith in the ninth, supplementary volume (1842) of his catalogue raisonné of Dutch pictures (the source of Hofstede de Groot’s survey) makes it clear that the Lonsdale painting is similar but not identical to the composition of the Rijksmuseum drawing: ‘Embarkation of Goods. The scene represents a noble river, bounded on one side by rocky cliffs, surmounted by several picturesque buildings. The left of the picture is composed of broken ground, where several persons are seen unloading three pack-horses, and conveying the bales of goods to a boat lying near shore; a second boat, charged with goods, lies in the middle of the stream, in which are some youths bathing. 1 ft. 8 in. by 2 ft. 2 in. – C(anvas).’19J. Smith, Supplement to the Catalogue raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, pt. 9, London 1842, p. 158, no. 56. In the museum’s drawing, unlike the Lonsdale painting, the figures and horses are on the right side, and there are no bathers.

Yet the fact that an original work by Wouwerman of this exact composition must once have existed is clear from a picture by one of his known copyists, the Antwerp painter Jan Frans van Bredael I (1683-1750), preserved in the Martin van Wagner Museum of the University of Würzburg (inv. no. F 200).20B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter of the Golden Age, 2 vols., Doornspijk 2006 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 20), II, fig. 61. Wouwerman specialist Schumacher described this work – which incidentally has bathers in the left foreground – as an amalgam of ‘motifs and quotations from various Wouwerman paintings’.21Ibid., I, p. 130. Details that correspond precisely with those of the Rijksmuseum drawing are the rocky cliff at far left of the composition; the laden boat in the middle of the river; the group of three figures unloading goods at the centre of the scene; and the staffage group at far right with two figures, two horses and a third figure peeking out over the top of bundle. To the left of this group in the painting, however, the grey faces left, towards the river, and in the foreground in front of the horse are two reclining figures. The painting lacks the enormous rocky cliff at the centre of the museum’s drawing, which coincides with the description of the Lonsdale painting as cliffs being ‘surmounted by several picturesque buildings’.

A genuine, fully signed drawing by Wouwerman featuring this subject-matter (though without any precise overlap in motif), Quayside Scene with Traders Unloading Goods, was on the London art market in 2019.22Sale, London (Sotheby’s), 3 July 2019, no. 363. A drawing with a direct link with the Rijksmuseum composition is a drawing, Figures Unloading Sacks from Horses to a Small Boat, auctioned as circle of Wouwerman in New York in 1998.23Sale, New York (Christie’s), 30 January 1998, no. 371. It is an exact replication of the middle section of the Amsterdam composition, starting from the high cliff at centre, above the boat being loaded, as far as the horse second from the right, seen from the rear. The only minor difference is the presence of two bathers on the boat. This may well reflect the configuration of the original painted model by Wouwerman.

It is always risky to try to identify the hands of individual copyists, but Plomp cautiously suggested that the same hand – possibly Wouwerman himself making autograph ricordi for prospective buyers – was responsible for six other copies after his paintings, many of them likewise on coloured or toned paper: two in the Teylers Museum, Haarlem (inv. nos. P+ 033 and P+ 035);24M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, nos. 564-65 (as ascribed to Wouwerman). two in the British Museum, London (inv. nos. 1895,0915.1360 and 1895,0915.1361);25A.M. Hind, Catalogue of Drawings by Dutch and Flemish Artists Preserved in the Department of Prints and Drawings in the British Museum, 5 vols., coll. cat. London 1915-32, IV (1931), pp. 114-15, nos. 2-3 (as Wouwerman). and two that in 1997 were in private collections in France.26Dessins des écoles du Nord dans les collections privées françaises, exh. cat. Paris (Galerie Aubry) 1974, nos. 120-21 (as Wouwerman). To this group Wuestman added further examples,27Her draft entry, 2000. including one in the Amsterdam Museum (inv. no. TA 10388),28B.P.J. Broos and M. Schapelhouman, Nederlandse tekenaars geboren tussen 1600 en 1660, coll. cat. Amsterdam 1993 (Oude tekeningen in het bezit van het Amsterdams Historisch Museum, waaronder de collectie Fodor, vol. 4), no. 182 (as Wouwerman). mentioning as a possible candidate for this hand the Haarlem draughtsman Nicolaes van Lijnhoven (?-before 1702), who was named as a Wouwerman copyist in the Notitie der teekeningen of Sybrand Feitama II (1694-1758).29S. Feitama, Notitie der teekeningen, uit de oudste en latere aanteekeningen, sedert de jaren 1685 en 1690, tot 1746, s.l. (1746), fol. 65.

Gerdien Wuestman, 2000/Jane Shoaf Turner, 2019

Literature

M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, p. 471, under no. 564 (as possibly an autograph copy by Wouwerman); F. Duparc and Q. Buvelot (eds.), Philips Wouwerman (1619-1668), exh. cat. Kassel (Gemäldegalerie Alte Meister, Museumslandschaft Hessen Kassel)/The Hague (Mauritshuis) 2009-10, p. 40, fig. 35 (as attributed to Wouwerman)

Citation

G. Wuestman, 2000/J. Shoaf Turner, 2019, 'anonymous, Coastal Scene with the Embarkation of Goods, 1625 - 1699', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200145706

(accessed 6 December 2025 13:09:46).

Footnotes

  • 1Haarlem, Noord-Hollands Archief, DTB 6, fol. 340.
  • 2A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), p. 70.
  • 3C. de Bie, Het gulden cabinet vande edele vry schilder-const, Antwerp 1661-62, p. 281: ‘Hy heeft gheleert by Franchois Hals’.
  • 4According to a biography of Wouwerman written in 1679 by the Hamburg artist Matthias Scheits (c.1625/30-c. 1700), who had been his pupil in Haarlem in the 1640s; A. Lichtwark, Matthias Scheits, als Schilderer des Hamburger Lebens, 1650-1700, Hamburg 1899, pp. 43-44; I. van Thiel-Stroman in P. Biesboer and N. Köhler (eds.), Painting in Haarlem, 1500-1850: The Collection of the Frans Hals Museum, coll. cat. Haarlem 2006, p. 359 (n. 20).
  • 5See, for example, C. Hofstede de Groot (ed.), Beschreibendes und kritisches Verzeichnis der Werke der hervorragenden holländischen Maler des XVII. Jahrhunderts, 10 vols., Esslingen 1907-28, II (1908), pp. 249-50.
  • 6A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, II (1719), p. 75.
  • 7B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter of the Golden Age, 2 vols., Doornspijk 2006 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 20), no. A326.
  • 8Nevertheless, more extant drawings are known than would be expected, given Houbraken’s anecdote that Wouwerman burned his drawings on his deathbed. In eighteenth-century inventories and sale catalogues references can be found to Wouwerman’s drawn works, cf. Q. Buvelot and S. Alsteens, ‘A Rediscovered Drawing by Philips Wouwerman’, Master Drawings 51 (2013), no. 4, pp. 445, 449 (n. 2, 4); A. Stefes, ‘Did Philips Wouwerman Draw with Red Chalk?’, Master Drawings 57 (2019), no. 4, pp. 453, 470 (n. 9-11).
  • 9Pieter was probably first an apprentice of his father Pouwels Joostensz Wouwermans, but Jan was more likely trained only by his brother Philips, as he was thirteen years old when his father died.
  • 10B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter of the Golden Age, 2 vols., Doornspijk 2006 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 20), no. A79.
  • 11Haarlem, Noord-Hollands Archief, DTB 76, fols. 365-66.
  • 12Haarlem, Noord-Hollands Archief, Notarieel Archief 374 (L. Baert), fol. 277.
  • 13Houbraken p. 71: ‘… dat hy met zyn Dochter, die aan den Konstschilder H. de Fromantjou trouwde, 20000 Gulden meê ten Huwelyk gaf.’
  • 14B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter of the Golden Age, 2 vols., Doornspijk 2006 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 20), no. A571.
  • 15G. Wuestman, ‘Prints after Philips Wouwerman’, in F. Duparc and Q. Buvelot (eds.), Philips Wouwerman (1619-1668), exh. cat. Kassel (Gemäldegalerie Alte Meister, Museumslandschaft Hessen Kassel)/The Hague (Mauritshuis) 2009-10, p. 54.
  • 16A. Stefes, ‘Did Philips Wouwerman Draw with Red Chalk?’, Master Drawings 57 (2019), no. 4, pp. 453-72.
  • 17M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, p. 471, under no. 564.
  • 18C. Hofstede de Groot (ed.), Beschreibendes und kritisches Verzeichnis der Werke der hervorragenden holländischen Maler des XVII. Jahrhunderts, 10 vols., Esslingen 1907-28, II (1908), no. 997.
  • 19J. Smith, Supplement to the Catalogue raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, pt. 9, London 1842, p. 158, no. 56.
  • 20B. Schumacher, Philips Wouwerman (1619-1668): The Horse Painter of the Golden Age, 2 vols., Doornspijk 2006 (Aetas aurea: Monographs on Dutch and Flemish Painting, vol. 20), II, fig. 61.
  • 21Ibid., I, p. 130.
  • 22Sale, London (Sotheby’s), 3 July 2019, no. 363.
  • 23Sale, New York (Christie’s), 30 January 1998, no. 371.
  • 24M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, nos. 564-65 (as ascribed to Wouwerman).
  • 25A.M. Hind, Catalogue of Drawings by Dutch and Flemish Artists Preserved in the Department of Prints and Drawings in the British Museum, 5 vols., coll. cat. London 1915-32, IV (1931), pp. 114-15, nos. 2-3 (as Wouwerman).
  • 26Dessins des écoles du Nord dans les collections privées françaises, exh. cat. Paris (Galerie Aubry) 1974, nos. 120-21 (as Wouwerman).
  • 27Her draft entry, 2000.
  • 28B.P.J. Broos and M. Schapelhouman, Nederlandse tekenaars geboren tussen 1600 en 1660, coll. cat. Amsterdam 1993 (Oude tekeningen in het bezit van het Amsterdams Historisch Museum, waaronder de collectie Fodor, vol. 4), no. 182 (as Wouwerman).
  • 29S. Feitama, Notitie der teekeningen, uit de oudste en latere aanteekeningen, sedert de jaren 1685 en 1690, tot 1746, s.l. (1746), fol. 65.