• J. Hidde Nijland , The Hague [1895-1928]
• Dordrechts Museum, Dordrecht [loan Hidde Nijland 1904-1910]
• Kröller-Müller Museum, Otterlo, inv nr 940-28, cat van Gogh 1970, nr 46

• 1918 The Hague
• 1924 Amsterdam, 25

Catalogues raisonnés:

• F939: Faille, Jacob Baart de la (1970) [1928] The Works of Vincent van Gogh. His Paintings and Drawings, Amsterdam: J.M. Meulenhoff, no. 939 .
• JH450 : Jan Hulsker (1980), The Complete Van Gogh, Oxford: Phaidon, no.  450.
  
  
• Compare the sketches in letter 251 JH157 and letter 330 JH342, as well as the watercolor F1022 and drawing F1023.
• The drawing was amongst those made for Uncle Cor's [Cornelis (Cor) Marinus van Gogh, art dealer and bookseller in Amsterdam] second commission of townscapes in The Hague (Hulsker p. 46, letter 297 n.7). For another example in this series see F942. His letters make it plain that he used a perspective frame in these drawings. (Naifeh & Smith pp. 291-3). The Rijswijk meadows can be seen in the background (c.f. F910). In letter 429 Vincent said he wanted to move people with these drawings.
• Letters
• Letter 214 to Theo van Gogh. The Hague, on or about Sunday, 2 April 1882. Vincent van Gogh: The Letters. Van Gogh Museum. "C.M. paid me, and a new order, but difficult enough, 6 detailed, specific, townscapes. I’ll see that I make them in any case, because if I understand correctly I’ll get for these 6 as much as for the first 12. And then perhaps sketches of Amsterdam."
• Letter 231 to Theo van Gogh. The Hague, Saturday, 27 May 1882. Vincent van Gogh: The Letters. Van Gogh Museum. "Today, Saturday, I had a visit from Rappard, and I’m glad that now he has been here. He also asked after you with great interest.
  He saw the drawings I’m doing for C.M. among other things, and they seem to please him, especially a large one of the courtyard or back yard at the house where Sien’s mother lives. I would like you to see that one, as well as another of a carpenter’s shed and yard with small figures at work. The perspective is rather more complicated than in the Laan van Meerdervoort I sent you, and I’ve laboured long and hard on it."
• Letter 232 to Anthon van Rappard. The Hague, Sunday, 28 May 1882. Vincent van Gogh: The Letters. Van Gogh Museum. "As for the one of the carpenter’s shed from the window of my studio, I’ve added a new black by working on it in pen, and now ‘the sun shines’ because the lights stand out more strongly. Today I made an early start because I wanted to do another one the same, and went to the dunes to draw a fish-drying barn, also seen from a height like the carpenter’s shed, and now it’s 1 at night but it’s all done thank God, and I can look my fearsome landlord in the eye. And so, it’ll get even better."
• Letter 235 to Theo van Gogh. The Hague, Saturday, 3 June 1882. Vincent van Gogh: The Letters. Van Gogh Museum. "Rappard was pleased with a similar drawing which C.M. has, and moreover with all the others C.M. has. Especially with the largest of the almshouse."
• Letter 249 to Theo van Gogh. The Hague, on or about Friday, 21 July 1882. Vincent van Gogh: The Letters. Van Gogh Museum. "People like me aren’t really allowed to be ill. You must really understand how I regard art. One must work long and hard to arrive at the truthful. What I want and set as my goal is damned difficult, and yet I don’t believe I’m aiming too high. I want to make drawings that move some people. Sorrow is a small beginning — perhaps small landscapes like the Laan van Meerdervoort, the Rijswijk meadows and the Fish-drying barn are also small beginnings. At least they contain something straight from my own feelings."