Object data
pen and brown ink, with grey and some blue-green wash, over traces of graphite; framing line in brown ink
height 154 mm × width 200 mm
Josua de Grave
View of a Formal Garden with an Arched Gateway and a Mermaid Fountain
1702
Inscriptions
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signed, dated and inscribed by the artist, in brown ink: lower right, Josua de Grave / 1702 : 7:m:/18:d: (exact date expressed as a fraction, month over day); upper centre, Voor d’Heer Vanden Broeck
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inscribed on verso: lower centre, in graphite, Cat 1237; lower left, in purple pencil, No 614; lower right, in pencil, e - (partially erased); upper half, in graphite, little doodles (flowers?)
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stamped on verso: lower centre, with the mark of the museum (L. 2228)
Technical notes
watermark: coat of arms (fragment)
Condition
Some foxing scattered throughout; sheet folded vertically at centre
Provenance
…; ? acquired by the museum (L. 2228), in or after 1921;1 first recorded in the museum in 19732
Object number: RP-T-00-148
Copyright: Public domain
Context
After returning from his last military campaign with Stadholder Prince Willem III of Orange (1650-1702) in 1676, Josua de Grave settled permanently in The Hague.3 He continued to travel throughout the Netherlands and make topographical drawings, but he also began to produce paintings and drawings with imaginary Italianate landscapes and gardens, responding to the tastes of the day. The Rijksmuseum’s collection includes nine such drawings, most of which are signed and dated. Only three painted Italianate gardens are known: one was sold at Christie’s, London, in 2004,4 and two are at the Bonnefantenmuseum, Maastricht (inv. nos. 1002030 and 1000889).
De Grave consistently signed this group of drawings Josua de Grave Inventor, perhaps intending to emphasize that these garden views were not of real sites but scenes from his imagination. Breithart suggested that most of the drawings in this group were not original inventions by De Grave but were based on prints or book illustrations. However, he mentioned only one direct relationship between a drawing depicting a View of the Serail of the Turkish Emporer in the collection of Chr. P. van Eeghen (1880-1968)5 and an engraved illustration of the palace of the Turkish emperor in Cornelis de Bruyn’s 1698 Reizen van Cornelis de Bruyn: Door de vermaardste Deelen van Klein Asia.6 However, while the buildings reveal some similarities, the comparison is rather weak. If De Grave based his drawing on the print, he did so only loosely. No other connections between his drawings and contemporary prints were found by the present author.
Carolyn Mensing, 2021
The artist
Josua de Grave (Amsterdam 1643 - The Hague 1712)
He was the son of the French merchant Claude Pietersz de Grave [Graeff] (c. 1597/98-after 1667) and Sara Bols (?-c. 1655) and was baptized in the Oude Kerk, Amsterdam, on 2 July 1643.7 De Grave had three brothers and two sisters.8 He grew up in Haarlem, where the family moved soon after his birth. In 1659, at age sixteen, he entered the Haarlem Guild of St Luke,9 but it is unknown with whom he trained. Based on a drawing dated 1663, depicting a landscape in the vicinity of Paris, now in the Kupferstichkabinett, Berlin (KdZ 2480),10 we know that he moved to Paris during or after his training. De Grave lived in Paris until 1668, after which he moved to Maastricht.
In Maastricht he likely met Barend Klotz (?-?) and Valentijn Klotz (c. 1646-1721), two fellow draughtsmen affiliated with the Dutch army.11 Until 1670, the trio resided in Maastricht, where they made around sixty drawings of the city and its surroundings. Only a handful of these drawings are signed (e.g. inv. nos. RP-T-1946-63 and RP-T-1911-100).12 In the following decades, the three artists accompanied the army of the Dutch States-General under the Stadholder Prince Willem III of Orange Nassau (1650-1702) on their various campaigns: to Bergen op Zoom (1671-early 1672), cities around the Dutch ‘waterlinie’ (1672) and various regions in the southern Netherlands and present-day Belgium (1674, 1675 and 1676).
On 3 December 1670, De Grave married Jenneton de Bisson (1645-?) in Maastricht.13 The newlyweds moved from Maastricht to The Hague, joining De Grave’s sister and his brother, Cornelis, who had moved there already.14 After each military campaign, De Grave returned to The Hague, where he settled permanently after the last campaign in 1676 and died in July 1712.15 Several drawings dated between the 1670s and the 1710s record sights around the city. In the final years of his career, he also produced paintings and drawings of (Italianate) gardens and fantasy landscapes (e.g. inv. nos. RP-T-00-148 and RP-T-1895-A-3063).
Josua de Grave often signed his work, using his full name or a variation, such as J. de Grave or Josua de Grave fecit. In many instances, he also included a location and a date. His signature is usually followed by a colon, then the year and the day and month (expressed as a fraction). His handwriting is quite distinct, using elegant, curly (capital) letters and a typical old-fashioned letter ‘e’. His drawings were initially quickly sketched in graphite or black chalk, after which he applied brown ink lines to further work out the composition. He seemed to have relied on a certain formula for most of his drawings, placing the horizon in the centre of the sheet and scattering the main elements around it. He often included trees, foliage or figures closer to the foreground, creating a repoussoir. De Grave drew his trees by outlining the trunks and branches, then scribbling in the leaves using cloud-like shapes.16 In most instances, in addition to the brown ink composition, grey washes are applied sparingly, particularly for the shadows on houses and roofs, foliage and simple cloud formations. Drawings that are more heavily washed are likely to have been worked up by (a) later hand(s).
Carolyn Mensing, 2019
References
R. van Eijnden and A. van der Willigen, ‘Klotz, Valentijn’, in U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XX (1927), pp. 549-50; R.J.G.M. van Hasselt, ‘Drie tekenaars van topografische prenten in Brabant en elders. Valentijn Klotz, Josua de Grave en Constantijn Huygens Jr.’, Jaarboek Oudheidkundige Kring ‘De Ghulden Roos’ 25 (1965), pp. 145-55; M.H. Breitbarth-van der Stok, ‘Josua de Grave, Valentinus Klotz en Bernardus Klotz’, Bulletin Koninklijke Nederlandse Oudheidkundige Bond 68 (1969), pp. 96-98; J.H. van Mosselveld and W.A. van Ham, Tekeningen van Bergen op Zoom. Topografische afbeeldingen van Bergen op Zoom en omgeving uit de zestiende tot en met de achttiende eeuw, exh. cat. Bergen op Zoom (Markiezenhof) 1973-74, pp. 15-18; G. Gordon, ‘Grave, Josua de’, in J. Turner (ed.), The Dictionary of Art, 34 vols., London/New York 1996, XIII, pp. 323-24
Entry
The small pond with a fountain sculpture of a mermaid at centre is situated in a formally arranged garden flanked by grand vases on pedestals. A large arched gateway behind the fountain functions as an entrance to a heavily wooded area. De Grave established the composition by marking out the perspective with thin graphite orthogonal lines leading towards the central vantage point in the background. This graphite underdrawing is still visible on the sheet. He then drew the overall composition with pen and brown ink and added grey wash. Touches of blue-green wash are added to the water, a feature that can also be found in inv. no. RP-T-1895-A-3063. It could not be established whether these washes are original or added later. The present drawing compares well to a drawing in the Staatliche Graphische Sammlung, Munich, dated 29 June 1704 (inv. no. 41526).17
The present drawing is dedicated to a certain ‘Mr Van den Broeck’ (‘Voor d’Heer Vanden Broeck’), possibly referring to Willem van den Broeck, Heer van Vrijhoeven (1641-1726), who had been a counselor in Brabant but resided in The Hague in 1702, the year the drawing was made. His family owned the country estate Vechtvliet in Breukelen, near Utrecht. Perhaps De Grave knew Van den Broeck and recorded an actual vignette from those gardens.18
The sheet includes a number written with purple pencil on the verso of the sheet. The collection includes four other sheets with such numbers: inv. nos. RP-T-1895-A-3060, RP-T-1895-A-3061, RP-T-1895-A-3062 and RP-T-1895-A-3063. These came into the collection in 1895 through the dealer H.J. Valk. It is possible that these drawings were once part of a larger lot in a sale or came from the same (private) collection. Unfortunately, their whereabouts before they entered the collection could not be established.
Carolyn Mensing, 2020
Citation
C. Mensing, 2020, 'Josua de Grave, View of a Formal Garden with an Arched Gateway and a Mermaid Fountain, 1702-07-18', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.51953
(accessed 10 November 2024 18:40:52).