= Demolished in 1834. The two pillars shown in this drawing still exist, although in dilapidated state. Provenance: the collection A.M. van den Broek, with his collector's mark on verso. Splendid drawing. SEE ILLUSTRATION PLATE CXXXI.
- Sl. soiled; tiny tears in lower edge.
- Sl. browned; (dust)soiled; w. a few sm. stains.
= Hendrik Spilman created an etching after this drawing and used it in Het verheerlykt Nederland of kabinet van hedendaagsche gezigten van steden, dorpen (1750). This was combined with a view of the watergate of Woudrichem after a drawing in a very similar style, attributed to Paulus van Liender by RKD (formerly in the collection of gallery Gebr. Douwes, 1963). The etchings are signed "C.P. ad viv.del", so the attribution to van Liender is very doubtful.
= Probably after the prints in Kabinet van Nederlandsche en Kleefsche outheden (1727-1733). Provenance: the collection A.M. van den Broek, with his collector's mark on verso.
= This composition was used by Rademaker for the print in Kabinet van Nederlandsche en Kleefsche outheden (1727-1733). After the drawing by Jan van der Velde, now in Teylers Museum. Provenance: the collection A.M. van den Broek. SEE ILLUSTRATION PLATE CXXXII.
- Yellowed. = SEE ILLUSTRATION PLATE CXXVIII.
- Traces of former tipping-in on verso. = SEE ILLUSTRATION PLATE CXXXII.
Idem (attrib.). (Small farmhouse on a lake with resting cows near a small wood). Drawing, pen and brown ink and watercolour, 11,3x19 cm., within framing line in pen and brown ink.
- Poor copy, waterstained in lower part; laid down, w. closed holes and tears, mostly in lower part.
= A contemporary copy after a drawing by Ricci, now part of the collection of the Morgan Library and Museum (inv. no. 1976.38). Provenance: sir Thomas Lawrence (1769-1836) (blindstamp mark, Lugt 2445), William Young Ottley (1771-1836) (stamp, Lugt 2663). According to the annotation on the mount, donated to the Rugby School Art Museum by Matthew Holbeche Bloxam (1805-1888).
- Num. annots. in pencil (by the artist?). Outer margins laid down on mount.
= With manuscript collector's mark "J.E. Ridinger Sammlung Weigel" on verso (perhaps T.O. Weigel, Lugt 2554). SEE LLUSTRATION PLATE.
- Sl. yellowed. = SEE ILLUSTRATION PLATE CXXXIII.
- Somewhat browned/ foxed. = Probably a design for an illustration.
- Sl. browned and fingersoiled; one drawing upper right corner very sm. section torn off.
= Provenance: the collection A.M. van den Broek, with his collector's mark w. acquisition date "1932" on verso. Views by this amateur artist are very similar to the compositions by Abraham Rademaker but there are some significant differences. Somewhat naive but charming drawings. The Noordhollands archief holds one other similar drawing by the same, depicting the Grote Houtpoort and the RKD mentions a drawing by the same of de Grote Markt, sold in auction a few times (first in 1754, auction Jan van der Vinne).
- Verso paper tape along margins.
= Provenance: the collection of A.M. van den Broek with his collector's mark on verso. Cf. the watercolour drawing by the artist in the Rijksmuseum (RP-T-1921-391), which shows the same composition and in the same style. SEE ILLUSTRATION PLATE CXXXIII.
- Some soiling; verso traces of former mounting.
= With the collector's stamp of C. Rolas du Rosey in lower left corner (Lugt 2237). SEE ILLUSTRATION PLATE CXXXIV.
- Sl. foxed. = On rather thick, wove paper.
= Preliminary drawing (after the painting by Gerard ter Borch and the print by Pieter Holsteijn) for the portrait engraving by Pieter Tanjé. Provenance: the collection A.M. van den Broek with his collector's mark on verso.