View of Willem III’s Quarter near Bodegraven, 2 September 1672

Valentijn Klotz (c. 1646 - The Hague 1721)

Except for a death certificate in The Hague dated 15 November 1721,¹ no documents relating to his life are known. Klotz may have come from the province of Limburg, where his surname is recorded in the seventeenth century.² Biographical information is therefore based only on his dated drawings: the earliest, from 1667, was mentioned in Kramm, but its whereabouts are unknown³ and the last is in the Rijksmuseum’s collection (inv. no. RP-T-1894-A-2889), from 1718.⁴ In 1670, Klotz resided in Maastricht, where he likely met fellow draughtsman Josua de Grave (1643-1712). Together with Barend Klotz (?-?), his presumed brother or cousin who was an midshipman (adelborst) in the army, the three men accompanied the army of the Dutch States-General under the Stadholder Prince Willem III of Orange (1650-1702) on various campaigns. They were probably hired as individual draughtsmen, tasked to record the landscapes, cities, villages and encampments encountered along the way, including those around 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).

Like Josua de Grave, Klotz probably settled in The Hague at some point; several drawings dating between 1673 and 1718 depict the city and its environs, among them two in the Rijksmuseum’s collection (inv. nos. RP-T-1894-A-2888 and RP-T-1894-A-2889).

Although as a draughtsman, he worked in a very similar style and technique to Barend Klotz and Josua de Grave, Valentijn seems to have had a somewhat more spontaneous approach. According to Gordon, Klotz’s subject-matter is also slightly more diverse, focusing more heavily on architectural elements.⁵ Only a few of Valentijn Klotz’s drawings are signed, only occasionally with his full name. He more often provided his drawings with a date and a short description of the location. His handwriting is quite irregular, somewhat sloppy and not very consistent. He did use a very recognizable capital letter ‘B’.⁶ Klotz built up his landscapes with thin brown lines, often on top of an initial quick sketch in graphite or black chalk. Compared to De Grave’s drawings, his pen strokes in brown ink are tighter, and he often used zigzags rather than loops. In a few instances, the drawing is worked out entirely in grey and black rather than brown ink (e.g. inv. no. RP-T-1888-A-1640). His rendering of trees is quite sketchy, using short strokes of the pen to suggest leaves, with grey washes often applied to establish their shape and volume. Some sheets in the Rijksmuseum have watercolour washes, probably applied by a later hand (e.g. inv. nos. RP-T-00-171 and RP-T-00-172).

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. 97-99; 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, ‘Klotz, Valentijn’, in J. Turner (ed.), The Dictionary of Art, 34 vols., London/New York 1996, XVIII, pp. 140-41

Barend Klotz (? - ?)

Only one record, related to his position as a midshipman (adelborst) in the Dutch army, exists.⁷ The Klotz family may have come from the province of Limburg, where the surname was recorded in the seventeenth century.⁸ Barend was likely related to fellow draughtsman Valentijn Klotz (c. 1650-1721), who was probably a brother or cousin. Barend was part of the military company of Capt. Harderwijk (?-?), the leader of the naval department of the Dutch army, founded in Maastricht in 1668.⁹ In Maastricht, he likely met fellow draughtsman Josua de Grave (1643-1712). After being stationed in Bergen op Zoom (1671-early 1672), Barend and Valentijn Klotz and Josua de Grave accompanied the army during their campaigns in the southern Netherlands in 1672, 1674, 1675 and 1676.

Barend Klotz signed and dated his works only occasionally (e.g. inv. no. RP-T-00-736). Consequently, scholars seem to have been hesitant about attributing drawings to the artist. Furthermore, his style is very close to that of Valentijn Klotz and Josua de Grave. Based on the few inscriptions found on his sheets, Mosseveld and Van Ham were able to describe Barend Klotz’s handwriting and attribute a number of drawings of sites in Bergen op Zoom to the artist.¹⁰ Overall, his handwriting is neater than that of Valentijn, but not as consistent as that of Josua de Grave. His ‘w’, as well as his ‘p’ and ‘z’, are quite distinguishable; also noteworthy is his sparse use of capital letters.¹¹ Barend used a very distinct old-fashioned ‘e’, adding an additional loop through the ‘o’. Further, he included the words ‘geteekent de’ [accompanied with a date and place] on several of his drawings. Based on this information, various drawings in the Rijksmuseum’s collection could be (tentatively) reattributed to the artist.

Carolyn Mensing, 2020

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. 99-101; 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, ‘Klotz, Valentijn’, in J. Turner (ed.), The Dictionary of Art, 34 vols., London/New York 1996, XVIII, pp. 140-41 ; P. Groenendijk, Beknopt biografisch lexicon van Zuid- en Noord-Nederlandse schilders, graveurs, glasschilders, tapijtwevers et cetera van ca. 1350 tot ca. 1720, Leiden 2008, p. 466