black chalk and brown wash;
signed in brown ink lower center: 'G. du Jardin.';
numbered lower left: '53st';
numbered lower center: '24. st.'
Dimensions: sheet: 9 5/8 by 13 1/2 in.; 24.4 by 34.3 cm.
Condition Report: Stuck to backing at top edge. Very minor losses, two of them backed, down left edge. Two small holes in the sky. One or two very small spots and a little surface dirt, but overall condition good. Sold in a modern giltwood frame.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Provenance: Boguslaw Jolles, Dresden and Vienna (L.381);
Hofrat Dr. Michael Berolzheimer, Munich, Obergrainau and New York;
By whom sold involuntarily Weinmüller, 9/10 March 1938, lot 201, unillustrated;
Restituted to the above circa 1950;
Emile Wolf, New York;
Thence by descent to the present owner.
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The drawings of this highly individual draughtsman were until recently generally attributed to his later near-namesake, Karel Dujardin, a confusion that has now been set straight, thanks to the publications of Marijn Schapelhouman and Peter Schatborn.
Du Gardijn was a native of Cologne but settled in Amsterdam. He seems to have travelled to Italy in the 1620s, around the same time as Cornelis Poelenburch and Bartholomeus Breenbergh. Almost all his known drawings are executed in the same combination of media, on large sheets that have been folded in the middle, and are signed in ink and inscribed with prices in guilders or stuivers, the significance of which is unclear.
The only examples of his work to have come to the market would appear to be a drawing sold in 1977, as Karel Dujardin, now in the Boijmans van Beuningen Museum, Rotterdam, and another sold in 2000, as Dutch School, 17th century.2
1. M. Schapelhouman, "Tekeningen van Guilliam dú Gardijn", in 'Vouwblad Stedelijk Museum Alkmaar', 1995, pp. 4-7; P. Schatborn, 'Drawn to Warmth, 17th-century Dutch artists in Italy', Amsterdam 2001, pp. 74-6.
2. Sale, Amsterdam, Sotheby Mak van Waay, 18 April 1977, lot 31; sale, London, Christie's, 4 July 2000, lot 61.