Landscape with the Ruins of the Castle of Egmond

Berlin, Kaiser-Friedrich-Museums-Verein, Palais Redern, Ausstellung von Werken alter Kunst aus dem Privatbesitz der Mitglieder des Kaiser-Friedrich-Museums-Verein, 1906, no. 117, ill. Rotterdam, J. Goudstikker, Collection Goudstikker 36, 22 December 1928 - 6 January 1929; Amsterdam, 12 January - 28 February 1929, no. 67. London, Thomas Agnew and Sons, An Exhibition of the Von Auspitz Collection of Old Masters by courtesy of Herr Walter Bachstitz, (November-December 1932) p. 16, no. 27. The Hague, Mauritshuis, Jacob van Ruisdael, 1 October 1981 - 3 January 1982; Cambridge, Mass., Fogg Art Museum, Harvard University, 18 January 1982 - 11 April 1982, no. 19, p. 64-66. London, Philadelphia and Los Angeles County Museum of Art, Jacob van Ruidael, Master of Landscape, June 26–September 18, 2005; traveled to Philadelphia, Museum of Art, October 23, 2005–February 5, 2006; London, Royal Academy or Arts, February 25–June 4, 2006, no. 18.

Theodor Frimmel, Kleine Galeriestudien (Bamberg, 1891/92), p. 261. Ruisdael: Masters in Art, vol. 8 (Boston, 1907): 83, listed only. Wilhelm Bode. Die Sammlung Oscar Huldschinsky (Berlin, 1908) no. 26. C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. IV (London, 1912) pp. 22-3, no. 51. Jakob Rosenberg, Jacob van Ruisdael (Berlin, 1928) pp. 20-1, 74, no. 34, pl. 18, fig. 31. Paul Cassirer and Hugo Helbing, Die Sammlung Oscar Huldschinsky (Berlin, 1928) p. 52, no. 29, pl. 25. “Die Sammlung Huldschinsky,” Pantheon 1 (1928) pp. 128, 130 (ill). P. Wescher, “Berlin,” Pantheon 1 (1928), p. 327. “Berlin. Collection Oscar Huldschinsky” La Revue d’Art 29 (July–December 1928), p. 95. Bulletin of the Bachstitz Gallery (The Hague, 1929) pp. 36-7. Axel L. Romdahl, “Barock, Kontrabarock och Akademism,” Tidskrift for Konstvetenskay 20 (1937) pp. 39-40, 44 (ill.). J. G. N. Reynaud, “De iconographie van het slot te Egmond,” Maandblad voor beeldende Kunst 17 (1940), pp. 339–41. Art Institute of Chicago, Paintings in the Art Institute of Chicago. A Catalogue of the Picture Collection (Chicago, 1961) pp. 408-9, ill. p. 193. John Maxon, The Art Institute of Chicago (London and New York, 1970) pp. 260, 285 (ill.). Yuri Kouznetsov, “Sur le symbolisme dans les paysages du Jacob van Ruisdael,” Bulletin du Musée National de Varsovie 14 (1973), p. 35. The Art Institute of Chicago. 100 Masterpieces. Chicago, 1978, no. 23 (1983 reprint, pl. 23). John D. Morse, Old Master Paintings in North America (New York, 1979), p. 250. J. Ashbery, “Master of Land and Sky,” Newsweek (February 15, 1982), p. 7. Peter Ashton, Alice I. Davies and Seymour Slive, “Jacob van Ruisdael’s Trees,” Arnoldia 42, no. 1 (1982), p. 19, pl. 19. Robert Hughes, “Opening a Path to Natural Vision. A unique retrospective of Ruisdael at the Fogg,” Time (March 29, 1982) p. 60, ill. Carter Ratcliff, “Ruisdael’s Northern Prospects,” Art in America 70, no. 4 (April 1982) p. 96 (ill.). Peter C. Sutton, A Guide to Dutch Art in America (Grand Rapids, Michigan1986) pp. 49, 51, fig. 68. George Keyes, review of Cambridge, Massachusetts, Fogg Art Museum, Landscape in Perspective: Drawings by Rembrandt and his Contemporaries, in Master Drawings 27 (1989), pp. 168–9. Walter Liedtke, “The Collectors and Their Ideals,” in Ben Broos, Great Dutch Paintings from America, exh. cat. (The Hague, Mauritshuis, 1990), p. 35. Seymour Silve, "Additions to Jacob van Ruisdael," Burlington Magazine 133 (1991), p. 598, n. 2. Seymour Slive, Jacob van Ruisdael: A Complete Catalogue of His Paintings, Drawings, and Etchings (New Haven, 2001) pp. 44-5, no. 29.