Twee watermolens aan weerszijden van een sluis

Jacob Isaacksz van Ruisdael, ca. 1660 - ca. 1670

  • Soort kunstwerktekening
  • ObjectnummerRP-T-1887-A-1390
  • Afmetingenhoogte 148 mm x breedte 194 mm
  • Fysieke kenmerkenzwart kruit, met penseel en grijze inkt; latere toevoegingen in zwart krijt en penseel en grijze inkt; kaderlijnen in zwarte inkt (gedeeltelijk afgesneden)

Ontdek verder

meer door Jacob Isaacksz van Ruisdael

De molen bij Wijk bij Duurstede

Jacob Isaacksz van Ruisdael, ca. 1668 - ca. 1670

De molen bij Wijk bij Duurstede

Gezicht op Haarlem uit het noordwesten, met de blekerijen op de voorgrond

Jacob Isaacksz van Ruisdael, ca. 1650 - ca. 1682

Gezicht op Haarlem uit het noordwesten, met de blekerijen op de voorgrond

Winterlandschap

Jacob Isaacksz van Ruisdael, ca. 1665

Winterlandschap

Landschap met waterval

Jacob Isaacksz van Ruisdael, ca. 1668

Landschap met waterval

Kasteel Bentheim

Jacob Isaacksz van Ruisdael, 1650 - 1682

Kasteel Bentheim

Gezicht op een watermolen

Jacob Isaacksz van Ruisdael, ca. 1650 - ca. 1660

Gezicht op een watermolen

Jacob Isaacksz van Ruisdael

View of Two Watermills Flanking a Sluice

c. 1660 - c. 1670

Inscriptions

  • inscribed: lower right, probably by Dalens, in point of brush and dark grey ink, JvR (in ligature)

  • inscribed on verso: lower left, in an eighteenth- or nineteenth-century hand, in brown ink, N. 18; next to that, in an eighteenth- or nineteenth-century hand, in graphite, Ruijsdaal; lower centre, in pencil, 10

  • stamped on verso: lower left, with the mark of the Vereniging Rembrandt (L. 2135); below that, with the mark of the museum (L. 2228); below that, with the mark of De Vos (L. 1450)

Technical notes

Watermark: None

Condition

Light foxing throughout; discoloration at the upper left part of the sheet; and a minor repair at centre left of the verso

Provenance

…; ? sale, Jan Danser Nijman (1735-97, Amsterdam),1Plomp 2001, p. 48 (n. 28). Paris (Basan), 8 July 1776 sqq., no. 761 (‘Un paysage en travers, où se voyent sur le devant deux gros arbres, & plus loin deux moulins à eau, partagés par un pont de planches ; aussi à l'encre de la Chine ; même grandeur que les précédens. Il a pour pendant un autre paysage avec un grand chemin sur le devant’), frs. 121, to the dealer P. Fouquet Jr, Amsterdam;2Slive 2001, p. 498, under no. D7; copy RMA. …; collection Antoine Poullain (?-1780), Paris, by 1780;3Ibid., p. 498, under no. D7. The drawing was engraved, in reverse, by Jean Jacques André le Veau (1729-86) and published in the ‘Collection de cent-vingt estampes gravées d’après tableaux et dessins qui composoient le Cabinet de M. Poullain […] décédé en 1780’, Paris 1781, no. 88. …; collection Jacob de Vos Jbzn (1803-78), Amsterdam (L. 1450); his widow, Abrahamina Henrietta de Vos-Wurfbain (1808-83), Amsterdam; sale, Jacob de Vos Jbzn, Amsterdam (C.F. Roos et al.), 22 May 1883 sqq., no. 463, fl. 390, to the Vereniging Rembrandt (L. 2135);4Copy RKD. from whom acquired, with 53 other drawings, by the museum (L. 2228), 18875For security reasons, the drawing was transferred from the Ministerie van Binnenlandse Zaken to the museum in 1887.

Object number: RP-T-1887-A-1390

Credit line: Purchased with the support of the Vereniging Rembrandt

The artist

Biography

Jacob Isaacksz van Ruisdael (Haarlem 1628/29 - Amsterdam 1682)

He was the only son of the Mennonite framemaker, art dealer and landscape painter Isaack Jacobsz Ruisdael (1599-1677). As stated in Jacob’s will of 27 May 1667, he was born in Haarlem. A notarized document of 9 June 1661, in which he declares himself to be thirty-two years old, puts his birthdate at 1628 or 1629. Although there is no documentary evidence, it is likely that Jacob trained with his father and, possibly, with his uncle Salomon van Ruysdael (c. 1600/03-1670). Be that as it may, the refined landscapes of Cornelis Hendriksz Vroom (c. 1590/92-1661) had a far more profound impact on Jacob’s early work, the earliest dated examples of which are from 1646. According to the records of the Haarlem painters’ guild, Jacob was enrolled in 1648. Houbraken claimed that Jacob also practiced medicine. In fact, a ‘Jacobus Ruijsdael’ appears on a list of Amsterdam doctors in the Amsterdam Stadsarchief, stating that a medical degree was conferred on him at the university of Caen, northern France, on 15 October 1676. This, however, is unlikely to be the artist. Houbraken was probably correct when he wrote that Nicolaes Berchem (1621/22-1683) and Ruisdael were good friends. It is generally assumed they travelled together to Bentheim in Westphalia just across the border around 1650. It is likely that Ruisdael settled in Amsterdam circa 1655, when Meindert Hobbema (1638-1709) became his pupil there, according to a notarized document of 8 July 1660. A Mennonite just like his father, Jacob had himself baptized on 17 June 1657 in Ankeveen, a village near Utrecht. At this time he was living in Amsterdam in a house called ‘In de Silvere Trompete’ on the Rokin from the Dam to the Kromme Elleboogsteeg. On 15 January 1659, Jacob became a citizen of Amsterdam. When the artist drew up his will in 1667, he was living on the Kalverstraat, but from 1670 he was a subtenant of the third house on the south side of the Dam, seen from the Rokin, living above the book and art shop ‘De Wackeren Hond’, owned by the publisher Hieronymus Sweerts (1629-1696). Members of the wealthy Amsterdam patrician family De Graeff were clients of Jacob, as is attested by various archival sources. The Arrival of Cornelis de Graeff and his Family at his Country Estate Soestdijk, in the National Gallery of Ireland, Dublin (inv. no. NGI.287),6S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. 80. which was painted in collaboration with Thomas de Keyser (1596-1667), for instance, was certainly one such commission. Although Ruisdael’s paintings were given modest valuations in the few inventories made during his lifetime, his financial situation seems to have been stable enough throughout his career for him to be able, for instance in 1678, to lend 400 guilders to the Amsterdam doctor Johannes Baptist van Lamsweerde (active 1677-78). In 1674, Jacob’s assets were estimated, for tax purposes, at 2,000 guilders. He died a lifelong bachelor in 1682 and was buried on 14 March in the Grote Kerk, Haarlem, the city to which he presumably had returned shortly before his death.

Ruisdael left an impressive oeuvre of some 800 paintings, around 140 drawings and a tiny corpus of 13 etchings. Dated works are rather unevenly distributed over his career, creating uncertainty over his precise development. His last five dated paintings are from the 1660s, but in every case the last digit is illegible. Ruisdael was, no doubt, the most versatile landscapist of the Dutch Golden Age. His oeuvre includes city- and seascapes, coastal and panoramic scenes, wooded and winter landscapes, grain fields, Scandinavian landscapes and landscape views centring on an array of motifs such as hills, mountains, bridges, ruined structures, water and wind mills, cemeteries, castles, cottages, sluices, torrents and waterfalls. Ruisdael frequently employed colleagues to add staffage to his landscape views, among them Berchem, Johannes Lingelbach (1622-1674), Gerrit Lundens (1622-1686), Adriaen van de Velde (1636-1672) and Philips Wouwerman (1619-1668). Besides Vroom, the only other artist who exerted a recognizable and sustained influence over Ruisdael was Allaert van Everdingen (1621-1675). In turn, Ruisdael himself had a decisive impact on a host of landscape specialists, including Hobbema, Roelof Jansz van Vries (c. 1630/31-after 1681), Cornelis Gerritsz Decker (?-1678), Klaes Molenaer (c. 1626/29-1676) and Jan van Kessel (1641-1680), to mention just a few.

Eddy Schavemaker, 2019

References
A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols., Amsterdam 1718-21, III (1721), pp. 65-66; H.F. Wijnman, ‘Het leven der Ruysdaels’, Oud Holland 49 (1932), pp. 49-60; K.E. Simon, ‘Jacob Isaackzoon van Ruisdael’, in U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XXIX (1935), pp. 190-93; F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XX (1978); J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, pp. 141-208; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, with earlier literature; I. van Thiel-Stroman, ‘Biographies 15th-17th century’, in P.N. Köhler (ed.), Painting in Haarlem 1500-1850: The Collection of the Frans Hals Museum, coll. cat. Haarlem 2006, pp. 281-86; J.P. Hinrichs, ‘Nogmaals over een oud raadsel. Jacob van Ruisdael, Arnold Houbraken en de Amsterdamse naamlijst van geneesheren’, Oud Holland 126 (2013), no. 1, pp. 58-62; T. van der Molen, ‘Ruisdael, Jacob van’, in A. Beyer et al. (eds.), Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker, Munich 1992-, C (2018), p. 116

Entry

Beside a pond with two ducks are two half-timbered, thatched watermills, flanking a sluice crossed by a wooden footbridge. Though it cannot be confirmed, it has been plausibly suggested that the mills represented are those that still survive at Huis Singraven, a manor house on the River Dinkel, near Denekamp (now Dinkelland), north-east of Enschede and close to the border between the province of Overijssel and Germany.7H. Hagens, Molens, mulders, meesters. Negen eeuwen watermolens in de Gelderse Achterhoek, Salland en Twente, s.l.e.a. (Hengelo 1979), p. 86; S. Slive et al., Jacob van Ruisdael, exh. cat. The Hague (Mauritshuis)/Cambridge (MA) (Fogg Art Museum) 1981-82, p. 79, under no. 22; H. Hagens and B. Olde Meierink (eds.), Twente te pronk. Drie eeuwen verbeeld in prenten, tekeningen en aquarellen, 1600-1900, exh. cat. Enschede (Rijksmuseum Twenthe) 1986, p. 87, under no. 52. Slive was more cautious about accepting the identification; see S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, p. 498, under no. D7. The drawing is closely related to two paintings of the same watermills, one formerly in the collection of Anton W.M. Mensing (1866-1936), Amsterdam, which appeared on the London art market in 2018 and more recently was on offer with Galerie Sanct Lucas, Vienna,8S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. 111; sale, London (Christie’s), 5 July 2018, no. 4. and the other formerly in the collection of George Edward Habich (1818-1901), Boston and Kassel (current whereabouts unknown).9Ibid., no. 112. What may well be the same mills, seen from another viewpoint, feature in a drawing by Ruisdael in the State Hermitage Museum, St Petersburg (inv. no. OP-5536).10Ibid., no. D114.

The question of whether the Rijksmuseum drawing has been extensively reworked by another hand, probably by Dirck Dalens II (1657-1687), has been much debated. Giltaij, who assigned the drawing to the 1660s, believes this to be the case.11J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, p. 174. According to the inventory of the drawings collection of the Feitama family, the ‘Notitie der Teekeningen’, compiled by Sybrand Feitama II (1694-1758), Dirck Dalens – who apparently acquired a large group of drawings from the estate of Ruisdael after his death in 168212Ibid., 185-86; B.P.J. Broos, ‘“Notitie der Teekeningen van Sybrand Feitama”: de boekhouding van drie generaties verzamelaars van oude Nederlandse tekenkunst’, Oud Holland 98 (1984), no. 1, p. 24; B.P.J. Broos, ‘“Notitie der Teekeningen van Sybrand Feitama”, II: “Verkocht, verhandeld, verëerd, geruild en overgedaan”’, Oud Holland 99 (1985), no. 2, p. 111. – was responsible for ‘improving’ several autograph Ruisdael drawings, described in the inventory as ‘opgemaakt’ or ‘opgeteekend’. Dalens also evidently added or reinforced Ruisdael monograms on some sheets by the artist, such as the High Bridge over a Sluice near the Schermerpoort at Alkmaar in the Amsterdam Museum (inv. no. TA 10305), to which he also added a framing line.13B.P.J. Broos, ‘“Notitie der Teekeningen van Sybrand Feitama”: De boekhouding van drie generaties verzamelaars van oude Nederlandse tekenkunst’, Oud Holland 98 (1984), no. 1, pp. 24-25; B.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. 110; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D10. He made exact copies of others, such as a pair of drawings of the Portuguese-Jewish Cemetery at Ouderkerk on the Amstel, now in the Israel Museum, Jerusalem (inv. nos. 48.70 and 49.70),14S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, p. 534, under no. D60 (figs. D60a and D60b). after Ruisdael’s originals in the Teylers Museum, Haarlem (inv. nos. Q+ 048 and Q+ 049).15M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, nos. 412 and 413; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, nos. D60 and D61. Moreover, Dalens found inspiration for his own landscape drawings, as can be seen in his Hilly Landscape with Figures and Cattle in the Staatliche Graphische Sammlung, Munich (inv. no. 1997:35 Z),16T. Falk et al., ‘Berichte der Staatlichen Kunstsammlungen’, Münchner Jahrbuch der Bildenden Kunst 52 (2001), p. 244. the Wooded Landscape with Five Deer in the Musée Condé, Chantilly (inv. no. 1114 [375 ter]),17D. Mandrella, Arcadie du Nord: Dessins hollandais du Musée Condé à Chantilly, exh. cat. Chantilly (Musée Condé) 2001-02, no. 11. and another drawing in the Rijksmuseum, Hilly Landscape with Rider and his Servant (inv. no. RP-T-1972-83).

Initially Slive completely rejected the attribution to Ruisdael of the present drawing, suggesting that the whole composition was by a later hand, possibly Dalens.18S. Slive et al., Jacob van Ruisdael, exh. cat. The Hague (Mauritshuis)/Cambridge (MA) (Fogg Art Museum) 1981-82, p. 79, under no. 22. However, he later concluded that the large areas of undifferentiated wash and niggling attention to detail, so uncharacteristic of Ruisdael’s drawings (but typical of Dalens’s independent, autograph work), might be concealing a light autograph sketch by Ruisdael, which was ‘finished’ by a later hand. After close investigation, it seems like the passages of darkest grey wash, some black chalk accents and the monogram at lower right are either later additions or reinforcements of original details by Ruisdael.19These conclusions were drawn during the first Connoisseurship Master Class on Dutch Drawings, held at the Rijksmuseum on 5-6 June 2019.

Other examples of authentic drawings by Ruisdael said to have been subjected to such ‘finishing touches’ include Road in a Village with a Church in the Hessisches Landesmuseum, Darmstadt (inv. no. AE 780),20S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D43. and two more sheets in the Teylers Museum, Wide Canal with a Timber Yard to the Right (inv. no. Q+ 047)21M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, no. 409; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D65. and Three Half-timbered Houses alongside a Road (inv. no. Q+ 051).22M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, no. 415; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D66.

An engraving (in reverse) of the present sheet (e.g. inv. no. RP-P-1907-2380) was made by Jean Jacques André le Veau (1729-1786) when the drawing was in the collection of Antoine Poullain (?-1780), the Receveur Général des Domaines du Roi under Louis XVI (ruled 1774-92).23A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, II (1910), p. 521; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, p. 498 (fig. D7a).

Ingrid Oud, 2000/Jane Shoaf Turner, 2019

Literature

H. Kleinmann, Handzeichnungen alter Meister der holländischen Schule, 4 vols., Haarlem n.d., p. 44; J. van Ruysdael: Original-Abbildungen nach seinem besten Gemälden, Handzeichnungen und Radierungen, Leipzig [1920?] (3rd ed.; orig. ed. ?); J. Havelaar, Jacob van Ruisdael en Meindert Hobbema, Amsterdam 1924, p. 32 (fig. 17; as Meindert Hobbema); A.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, III (1926), p. 117; H. Hagens, Molens, mulders, meesters. Negen eeuwen watermolens in de Gelderse Achterhoek, Salland en Twente, s.l.e.a. [Hengelo 1979], pp. 85-86 (as attributed to Ruisdael); J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, pp. 141-208, no. 4 (‘opgewerkt’, probably by D. Dalens); S. Slive et al., Jacob van Ruisdael, exh. cat. The Hague (Mauritshuis)/Cambridge (MA) (Fogg Art Museum) 1981-82, p. 79, under no. 22 (as manner of J. van Ruisdael, by D. Dalens?); M. Schapelhouman, Het beste bewaard. Een Amsterdamse verzameling en het ontstaan van de Vereniging Rembrandt, exh. cat. Amsterdam (Rijksprentenkabinet) 1983, no. 86; Z. Zolks, ‘Tentoonstelling van niet geschilderde topografische voorstellingen van Twente’, Kunst & Antiekrevue 11 (1986), no. 4, pp. 5-6 (fig. 1); H. Hagens and B. Olde Meierink (eds.), Twente te pronk. Drie eeuwen verbeeld in prenten, tekeningen en aquarellen, 1600-1900, exh. cat. Enschede (Rijksmuseum Twenthe) 1986, no. 52 (as attributed to J. van Ruisdael); P. Sutton et al., Masters of 17th-century Dutch Landscape Painting, exh. cat. Amsterdam (Rijksmuseum)/Boston (Museum of Fine Arts)/Philadelphia (Museum of Art) 1987-88, p. 442, under no. 81 (n. 3); M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, p. 363, under no. 415 (as ‘opgewerkt’ by D. Dalens); S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D7; sale, London (Christie’s), 5 July 2018, p. 20, under no. 4

Citation

I. Oud, 2000/J. Shoaf Turner, 2019, 'Jacob Isaacksz van Ruisdael, View of Two Watermills Flanking a Sluice, c. 1660 - c. 1670', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200105865

(accessed 3 December 2025 01:10:37).

Footnotes

  • 1Plomp 2001, p. 48 (n. 28).
  • 2Slive 2001, p. 498, under no. D7; copy RMA.
  • 3Ibid., p. 498, under no. D7. The drawing was engraved, in reverse, by Jean Jacques André le Veau (1729-86) and published in the ‘Collection de cent-vingt estampes gravées d’après tableaux et dessins qui composoient le Cabinet de M. Poullain […] décédé en 1780’, Paris 1781, no. 88.
  • 4Copy RKD.
  • 5For security reasons, the drawing was transferred from the Ministerie van Binnenlandse Zaken to the museum in 1887.
  • 6S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. 80.
  • 7H. Hagens, Molens, mulders, meesters. Negen eeuwen watermolens in de Gelderse Achterhoek, Salland en Twente, s.l.e.a. (Hengelo 1979), p. 86; S. Slive et al., Jacob van Ruisdael, exh. cat. The Hague (Mauritshuis)/Cambridge (MA) (Fogg Art Museum) 1981-82, p. 79, under no. 22; H. Hagens and B. Olde Meierink (eds.), Twente te pronk. Drie eeuwen verbeeld in prenten, tekeningen en aquarellen, 1600-1900, exh. cat. Enschede (Rijksmuseum Twenthe) 1986, p. 87, under no. 52. Slive was more cautious about accepting the identification; see S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, p. 498, under no. D7.
  • 8S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. 111; sale, London (Christie’s), 5 July 2018, no. 4.
  • 9Ibid., no. 112.
  • 10Ibid., no. D114.
  • 11J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, p. 174.
  • 12Ibid., 185-86; B.P.J. Broos, ‘“Notitie der Teekeningen van Sybrand Feitama”: de boekhouding van drie generaties verzamelaars van oude Nederlandse tekenkunst’, Oud Holland 98 (1984), no. 1, p. 24; B.P.J. Broos, ‘“Notitie der Teekeningen van Sybrand Feitama”, II: “Verkocht, verhandeld, verëerd, geruild en overgedaan”’, Oud Holland 99 (1985), no. 2, p. 111.
  • 13B.P.J. Broos, ‘“Notitie der Teekeningen van Sybrand Feitama”: De boekhouding van drie generaties verzamelaars van oude Nederlandse tekenkunst’, Oud Holland 98 (1984), no. 1, pp. 24-25; B.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. 110; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D10.
  • 14S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, p. 534, under no. D60 (figs. D60a and D60b).
  • 15M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, nos. 412 and 413; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, nos. D60 and D61.
  • 16T. Falk et al., ‘Berichte der Staatlichen Kunstsammlungen’, Münchner Jahrbuch der Bildenden Kunst 52 (2001), p. 244.
  • 17D. Mandrella, Arcadie du Nord: Dessins hollandais du Musée Condé à Chantilly, exh. cat. Chantilly (Musée Condé) 2001-02, no. 11.
  • 18S. Slive et al., Jacob van Ruisdael, exh. cat. The Hague (Mauritshuis)/Cambridge (MA) (Fogg Art Museum) 1981-82, p. 79, under no. 22.
  • 19These conclusions were drawn during the first Connoisseurship Master Class on Dutch Drawings, held at the Rijksmuseum on 5-6 June 2019.
  • 20S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D43.
  • 21M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, no. 409; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D65.
  • 22M.C. Plomp, The Dutch Drawings in the Teyler Museum, II: Artists Born between 1575 and 1630, coll. cat. Haarlem 1997, no. 415; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D66.
  • 23A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, II (1910), p. 521; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, p. 498 (fig. D7a).