Jean-François de Bastide, Le temple des arts, ou le cabinet de M. Braamcamp (Amsterdam, 1766), p. 95.
Art Institute of Chicago, Catalogue of Works of Old Dutch Masters and Other Pictures (Chicago, 1890), p. 25, no. 9.
“Famous Pictures for Chicago,” Chicago Daily Tribune, July 3, 1890 in scrapbooks maintained by Ryerson and Burnham Libraries, Art Institute of Chicago.
“Notes on Current Art,” Chicago Daily Tribune, July 6, 1890, p. 32.
“Chicago an Art Center,” Chicago Daily Tribune, November 9, 1890, p. 1.
Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago, 1901), p. 139–40, no. 2.
Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago, 1904), pp. 145–46, no. 2.
The Art Institute of Chicago, Important Facts Regarding the Art Institute of Chicago: with Reproductions from the Demidoff Collection (Chicago, 1905), pp. 9, 14, ill.
C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century Based on the Work of John Smith, vol. 4 (London, 1912), pp. 484, 511–12, no. 185.
Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago, 1917), p. 111, no. 2.
Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago, 1920), p. 17, no. 2.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 156.
K. Zoege von Manteuffel, “Velde, Adriaen van de” in Thieme-Becker, Allgemeines Lexikon der Bildenden Künstler (Leipzig, 1926), p. 198.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, (Chicago, 1932), p. 175.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1961), p. 460.
Clara Bille, De temple der kunst of het cabinet van den heer Braamcamp, vol. 1 (Amsterdam, 1961), p. 57–57a, 235, no. 235.
William W. Robinson, “Preparatory Drawings by Adriaen van de Velde,” Master Drawings 17 (1979), p. 19, under no. B-5.
Christopher White, The Dutch Pictures in the Collection of Her Majesty the Queen (Cambridge and New York: Cambridge University Press), p. 130, under no. 204.
Ruud Priem, “The ‘most excellent collection’ of Lucretia Johanna van Winter: The Years 1809–22,” Simiolus 25 (1997), pp. 118, 169.
Indianapolis, John Herron Museum of Art, Dutch Paintings, Etchings, Drawings, Delftware of the Seventeenth Century, February 27–April 11, 1937, no. 70.
Urbana, Illinois, University of Illinois Union Building, five year loan to January 7, 1951, no cat.
Ann Arbor, The University of Michigan Museum of Art, Italy through Dutch Eyes: Dutch Seventeenth-Century Landscape Artists in Italy, April 22–May 24 1964, no. 64.
Montreal Museum of Fine Arts, Italian Recollections: Dutch Painters of the Golden Age, June 8–July 22, 1990, no. 61.
Poughkeepsie, The Frances Lehman Loeb Art Center, Vassar College, Time and Transformation in Seventeenth-Century Dutch Art, April 8–June 19, 2005, no. 69; traveled to Sarasota, John and Mable Ringling Museum of Art, August 20–October 30, 2005, Louisville, Speed Art Museum, January 10–March 26, 2006.
Gerrit Braamcamp (died 1771), Amsterdam, by 1766 [see Bastide 1766 and Bille 1961]; his estate sale Van der Schley, etc., Amsterdam, July 31, 1771, no. 235 for 2,420 florins to Jan Gildemeester Jansz. along with no. 234, which was considered to be its pendant and fetched 2400 florins [prices and buyer according to an annotated copy of the sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague]; Jan Gildemeester Jansz. (died 1799), Amsterdam; his sale, Van der Schley, etc., Amsterdam, June 11, 1800, no. 239 for 4,825 florins to Jan Yver as agent for Pieter van Winter [price and buyer according to an annotated copy of the sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague; see Priem 1997 for the connection between Yver and van Winter; no. 238 in this sale, considered to be its pendant, was sold separately and is now in the Royal Collection, Windsor]; Pieter van Winter (died 1807), Amsterdam; his heirs until the division of his property in 1818, when it was assigned to the portion of his daughter Anna Louisa Agatha and her husband Willem van Loon (died 1877 and 1847 respectively) [see de Groot 1905 and Priem 1997]. Presumably Prince Anatole Demidoff, Villa San Donato, near Florence (died 1870); by descent to his nephew Prince Paul Demidoff (died 1885) and included in the sale of the contents of Villa San Donato, Pillet, Mannheim, and Le Roy, Florence March 15, 1880, lot 1105, bought in; remained in the Demidoff collection, passing into the possession of Paul Demidoff’s widow, Helena Troubetskoi, Pratolino, near Florence; included in the group of 13 paintings from the Demidoff collection sold to trustees of the Art Institute through Durand-Ruel, Paris in 1890; purchase price reimbursed by Sidney A. Kent, 1894.
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