View of the Ruins of Egmond Castle

Inscriptions

monogrammed: lower right, in point of brush and grey ink, JvR (in ligature)
inscribed: lower right, in an eighteenth-century hand, in graphite, b. Egmont op d hoef; next to that, in brown ink, with the mark of Esdaile, WE (L. 2617)
inscribed on verso: lower left, in brown ink (with the inv. no. of Goll von Franckenstein), 14/53; below that, by Esdaile, in brown ink, 147x WE 1833 out of Golt Van Falkenstein’s colln: J Ruysdael; above that, in a seventeenth- or eighteenth-century hand, in graphite, Casteel tot Egmont op den hoef; lower centre, in black ink, 217; next to that, in graphite (effaced), 655 / Jhf (?); lower right, in pencil, V
stamped on verso: lower left, with the mark of Pitcairn Knowles (L. 2643); lower centre, with the mark of the museum (L. 2228)

Technical notes

Watermark: Countermark with letters, PD (?)

Condition

Light foxing throughout; restored tear at upper right and holes in the paper at centre and lower centre made up

Provenance

…; collection Sybrand Feitama II (1694-1758), Amsterdam, by 1746;¹Feitama [1746], fol. 45, no. 5 (‘Jacob Ruisdaal. 2 [originally, 3], Gezichten aan de puinhoopen van ’t Huis te Egmont op den Hoef geteekend omstr: ao 1670: van welken 1 gehandeld is uit S. Schijnvoets Collectie, ao 1715 ƒ 8’); Broos 1985, pp. 118, 148. Which of the two sheets was acquired by Feitama from Simon Schijnvoet in 1715 has not been established. his sale, Amsterdam (B. de Bosch), 16 October 1758 sqq., Album H, no. 44 or 45 (‘Nochmaals Van J. Ruisdaal met Zwart kryt en Oostind. inkt. Twee gezichten der Puinhoopen van ‘t Huis te Egmont op den hoef omtrent Ao. 1670. ieder: h. 7½. br. 11d.’), fl. 62 for both, to Gerard Hoet II (1698-1760), The Hague;²Copy RKD; one of the two drawings is inv. no. RP-T-1902-A-4561. his sale, The Hague (A. Franken and O. van Thol), 25 August 1760 sqq., no. 272 (‘’t Kasteel van Egmond op den Hoef. Met Zwart kryt en O.I. Ink. Door J. Ruisdaal’), fl. 37, to the dealer P. IJver, Amsterdam, or no. 273 (‘Het zelfde van een’ andere Zyde, mede zeer fraai, door den zelfden’), fl. 40, to the dealer P. IJver, Amsterdam;³Copy RKD; one of the two drawings is inv. no. RP-T-1902-A-4561. …; collection Johann Edler Goll von Franckenstein (1722-85), Amsterdam and Velzen, by 1760;⁴According to an inscription on the drawing; see H.-U. Beck, ‘Anmerkungen zu den Zeichnungssammlungen von Valerius Röver und Goll van Franckenstein’, Nederlands Kunsthistorisch Jaarboek 32 (1981), p. 118-19 (fig. 7). his son, Jonkheer Johan Goll van Franckenstein (1756-1821), Amsterdam and Velzen; his son, Jonkheer Pieter Hendrik Goll van Franckenstein (1787-1832), Amsterdam and Velzen; sale, Jonkheer Johan Goll van Franckenstein, Amsterdam (J. de Vries et al.), 1 July 1833 sqq., Album U, no. 7 (‘Jacob Ruisdaal. Twee stuks, voorstellende de Ruïnen van het Kasteel te Egmond op den hoef, omgeven met geboomte op rijk begroeide gronden. Beide zeer dun en meesterlijk met o.i. inkt.’), with RP-T-1902-A-4561, fl. 125 for both, to the dealer J. de Vries, Amsterdam;⁵Copy RKD. …; collection William Esdaile (1758-1837), London (L. 2617); his sale, London (Christie’s), 18 (24) June 1840 sqq., no. 1092 (‘Ruysdael. Ruins, a pair, in indian ink’), with RP-T-1902-A-4561, £ 2:12:6 for both, to William Benoni White (1803-c. 1878), London;⁶Copy RKD. his sale, London (Christie’s), 29 January 1880 sqq., no. 81, £ 5:15:6, or no. 82, £ 5:5:0;⁷Copy RKD; one of the two drawings is inv. no. RP-T-1902-A-4561. …; sale, Willem Nicolaas Lantsheer (1826-83, The Hague) and Jeronimo de Vries Jerzn (1808-80, Amsterdam), Amsterdam (F. Muller), 3 June 1884 sqq., no. 284, with RP-T-1902-A-4561, fl. 285 for both, to the dealer A.W. Thibaudeau, London and Paris;⁸Copy RMA. …; sale, Baron Étienne-Edmond Martin de Beurnonville (1825-1906, Paris), Paris (M. Delestre and M. Clement), 16 February 1885 sqq., no. 217, with RP-T-1902-A-4561, frs. 225 for both;⁹According to the catalogue for the sale, Amsterdam (F. Muller), 25 June 1895 sqq., no. 563; copy RKD. …; collection William Pitcairn Knowles (1820-94), Rotterdam and Wiesbaden (L. 2643); his sale, Amsterdam (F. Muller), 25 June 1895 sqq., no. 563, with RP-T-1902-A-4561, fl. 60 for both, to the dealer F. Muller for the Vereniging Rembrandt;¹⁰Copy RKD. from whom, with RP-T-1902-A-4561, fl. 100 for both, to the museum (L. 2228), 1902

ObjectNumber: RP-T-1902-A-4560

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),¹¹S. 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

Ruisdael made drawings on several occasions of different parts of the ruins of Egmond Castle, also known as the ‘Slot op den Hoef’,¹²J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, nos. 1, 2, 20, 27, 54, 67, 68 and 98. including this drawing and another sheet in the Rijksmuseum with which it has long been paired (inv. no. RP-T-1902-A-4561). Egmond Castle was built to protect the famous abbey of Egmond, in the province of Noord-Holland, where the Counts of Holland and Counts of Egmond were buried. Following the Spanish occupation in 1573-1574 during the conflict with the southern Netherlands, William of Orange (1533-1584) instructed his troops on 7 June 1575 to set the castle on fire so that it could never again be used as a base by Spanish troops. The left foreground of the present sheet shows the ruins of the interior of the southwestern corner of the castle’s main building after it was ordered to be destroyed. In the distance on the right is the ruin of the southwestern corner tower of the outer structure, which is the main motif of the museum’s other drawing of the site.

The two drawings have been together since at least the mid-eighteenth century, when they featured in the collection of Sybrand Feitama II (1694-1758). According to his inventory of 1746, one of the pair entered his collection as early as 1715 from the collection of Simon Schijnvoet (1653-1727), but it is uncertain which one. In addition to this pair, Broos noted that Feitama owned four other drawings of the castle’s ruins by Ruisdael.¹³B.P.J. Broos, ‘“Notitie der Teekeningen van Sybrand Feitama”, II: “verkocht, verhandeld, verëerd, geruild en overgedaan”’, Oud Holland 99 (1985), no. 2, pp. 118, 129 (nn. 74-75); see also S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, p. 495, under no. D3. These might be identifiable among the five examples that are known today: one sheet in the Kupferstichkabinett, Berlin (inv. no. KdZ 14726);¹⁴J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, no. 20; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D18. one in the Kunsthalle, Bremen (inv. no. 917 Z);¹⁵J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, no. 27 (incorrectly as lost since 1945); S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D33 (incorrectly as presumably lost in World War II). For the drawing's continued presence in the museum's collection, see C. Melzer and J. Keddies, Kühles Licht und weite See: Niederländische Meisterzeichnungen und ihre Restaurierung, exh. cat. Bremen (Kunsthalle Bremen) 2018, no. 21. another in the collection of Dr H.G. Schmidt Dräger, Cologne;¹⁶J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, p. 179 (n. 94; as doubtful, though based on an illustration of 1931); sale, Amsterdam (Christie’s), 11 November 1996, no. 96; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D57. one in the Groninger Museum, Groningen (inv. no. 1931-217);¹⁷J. Bolten, Dutch Drawings from the Collection of Dr C. Hofstede de Groot, Utrecht 1967, no. 89; J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, no. 54; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D59. and the last in the Staatsgalerie, Stuttgart (inv. no. C 1964/1329).¹⁸J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, no. 98; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D120. These five sheets show common stylistic features and have similar dimensions (c. 200 x 300 mm), and at least one other sheet, the one in Groningen, has the same watermark with the letters PD.¹⁹J. Bolten, Dutch Drawings from the Collection of Dr C. Hofstede de Groot, Utrecht 1967, p. 115, under no. 89, the watermark repr. on p. 213. It is well known that Feitama commissioned contemporary artists to embellish drawings in his collection, especially those by Ruisdael. Whether or not this is the case with the figure and the darker passages of foliage in the foreground in the present work is debatable.

Renaud emphasized the role that Ruisdael’s drawings of Egmond Castle play in providing historical information about the interior organization of the ruined structure,²⁰J.G.N. Renaud, ‘De iconografie van het slot te Egmond’, Maandblad voor beeldende kunsten 17 (1940), p. 340. as they are among the oldest and most important seventeenth-century sources on the subject.²¹S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, p. 494, under no. D3 (fig. D3a), called attention to a drawing in the Albertina, Vienna (inv. no. 10199), by Jan Baptist Weenix (1621-1659) – though he listed it erroneously as by Jan Weenix (1640/41-1719) – which was previously misidentified and as a View of the Ruins of the House of Cleve near Haarlem, but clearly shows the ruins of Egmond; on the museum’s website, it is still wrongly attributed to Jan rather than to his father Jan Baptist (see A.A. van Wagenberg-Ter Hoeven, Jan Baptist Weenix: The paintings: A Story of Versatility, Success and Bankruptcy in Seventeenth-century Holland, Zwolle 2018, p. 27 (fig. 8)), but the location is now correctly identified. Another source for these ruins can be found in the renowned series of castles by Roelant Roghman (1627-1692), although in these the internal structure of the ruins is hardly emphasized; see H.W.M. van der Wyck and J.W. Niemeijer, De kasteeltekeningen van Roelant Roghman I, Alphen aan den Rijn 1989, nos. 45-48. They were probably executed on site, with the exception of two smaller sheets in the Hermitage State Museum, St Petersburg (inv. nos. 5530 and 5533).²²J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, nos. 67-68; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, nos. D117-D118.

Giltaij argued that the group of drawings can be dated around 1655,²³J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, p. 151. based on the fact that the drawing of the ruin in Stuttgart is similar to a motif in the background of Ruisdael’s Wooded Landscape with a View of the Jewish Cemetery in Oudekerk in the Staatliche Kunstsammlungen, Dresden (inv. no. 1502), a painting generally dated to the mid-1650s.²⁴S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. 180. In the background of another painting of the Jewish cemetery by Ruisdael, preserved in the Detroit Institute of Arts (inv. no. 26.3),²⁵Ibid., no. 178. is another detail of the ruined castle, though seen from a different angle (and for which no surviving sketch is known). The ruins also feature as the main motif (rather than as a background detail) in a painting in the Art Institute of Chicago (inv. no. 47.475),²⁶Ibid., no. 29. which also cannot be directly connected to any of the surviving drawings. There is, however, some resemblance between inv. no. RP-T-1902-A-4561 and a painting by Ruisdael in the collection of the Earl of Northbrook.²⁷J. Rosenberg, Jacob van Ruisdael, Berlin 1928, no. 477; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. 30.

A reproductive print of the present drawing (e.g. inv. no. RP-P-OB-47.809) was etched by Christiaan Josi (1768-1828) and added to the colour facsimiles published in the Prentwerk by Cornelis Ploos van Amstel (1726-98);²⁸C. Josi, Collection d’imitations des dessins d’après les principaux Maîtres Hollandais et Flamands, commencée par C. Ploos van Amstel (…) precedés d’un discours sur l’état ancient et moderne des arts dans les Pays Bas, 2 vols., London 1821, II, no. 95; and T. Laurentius et al., Cornelis Ploos van Amstel 1726-1798. Kunstverzamelaar en prentuitgever, Assen 1980, no. 109. Josi could well have seen the original drawing when it was in the Goll van Franckenstein collection.

Ingrid Oud, 2000/Jane Shoaf Turner, 2019

Literature

S. Feitama, Notitie der teekeningen, uit de oudste en latere aanteekeningen, sedert de jaren 1685 en 1690, tot 1746, s.l. [1746], p. 45; C. Josi, Collection d’imitations des dessins d’après les principaux Maîtres Hollandais et Flamands, commencée par C. Ploos van Amstel […] precedés d’un discours sur l’état ancient et moderne des arts dans les Pays Bas, 2 vols., London 1821, II, [n.p.; under ‘Jacob Ruisdael’]; R.W.P. de Vries, Cornelis Ploos van Amstel et ses élèves: Essai d’une iconographie, Amsterdam 1915, p. 38, no. 125; N.G. van Huffel, Cornelis Ploos van Amstel, Jacob Corneliszoon en zijne medewerkers en tijdgenoooten. Historische schets van de techniek der Hollandsche prenttekeningen, gemaakt in de tweede helft der 18e eeuw, Utrecht 1921, p. 63, no. 143; J. Rosenberg, Jacob van Ruisdael, Berlin 1928, no. 2; Hollandsche Teekenkunst in de Gouden Eeuw, exh. cat. Amsterdam (Rijksprentenkabinet) 1935, no. 130; 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, p. 192 (as probably by Dirk Dalens II); O. Benesch and B. Fleischman, Die holländische Landschaft im Zeitalter Rembrandts, exh. cat. Vienna (Albertina) 1936, no. 67; E. Goldschmidt and F. Schmidt-Degener, Catalogue de l’exposition de Jérôme Bosch à Rembrandt: Dessins hollandais du XVIe au XVIIe siècle, exh. cat. Brussels (Palais des Beaux-Arts) 1937-38, no. 131; J.G.N. Renaud, ‘De iconografie van het slot te Egmond’, Maandblad voor beeldende kunsten 17 (1940), pp. 339 (n. 1), 341 (fig. 3); J. Bruyn et al., Le paysage Hollandais au XVIIe siècle, exh. cat. Paris (Orangerie des Tuileries) 1950-51, no. 158; L.C.J. Frerichs, with I.Q. van Regteren Altena, Selected Drawings from the Printroom, coll. cat. Amsterdam 1965, no. 66; J. Bolten, Dutch Drawings from the Collection of Dr C. Hofstede de Groot, Utrecht 1967, p. 115, under no. 89; W. Schulz, Lambert Doomer: Sämtliche Zeichnungen, Berlin/New York 1974, p. 74, under no. 161; J. Giltaij, ‘De tekeningen van Jacob van Ruisdael’, Oud Holland 94 (1980), nos. 2/3, pp. 151, 188, no. 1; H.-U. Beck, ‘Anmerkungen zu den Zeichnungssammlungen von Valerius Röver und Goll van Franckenstein’, Nederlands Kunsthistorisch Jaarboek 32 (1981), p. 122; S. Slive et al., Jacob van Ruisdael, exh. cat. The Hague (Mauritshuis)/Cambridge (MA) (Fogg Art Museum) 1981-82, no. 80; B.P.J. Broos, ‘“Notitie der Teekeningen van Sybrand Feitama”, II: “verkocht, verhandeld, verëerd, geruild en overgedaan”’, Oud Holland 99 (1985), no. 2, pp. 118, 129 (nn. 74-75); M. Schapelhouman and P. Schatborn, Land & water. Hollandse tekeningen uit de 17de eeuw in het Rijksprentenkabinet/Land & Water: Dutch Drawings from the 17th Century in the Rijksmuseum Print Room, exh. cat. Amsterdam (Rijksprentenkabinet) 1987, no. 55; F.J. Duparc, Landscape in Perspective: Drawings by Rembrandt and his Contemporaries, exh. cat. Cambridge (MA) (Arthur M. Sackler Museum)/Montreal (The Montreal Museum of Fine Arts) 1988, no. 80; G.R. Goldner et al., European Drawings, I: Catalogue of the Collections, coll. cat. Los Angeles (J. Paul Getty Museum) 1988, p. 272, under no. 122; S. Slive, Jacob van Ruisdael: A Complete Catalogue of his Paintings, Drawings and Etchings, New Haven 2001, no. D3

Citation

I. Oud, 2000/L. Nonner, 2019, 'Jacob Isaacksz van Ruisdael, View of the Ruins of Egmond Castle, Egmond aan den Hoef, c. 1655', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.59766

(accessed 19 June 2025 08:27:19).