watermark: none

Tears repaired at centre left and right; thin spots at upper right

…; purchased from A.M. Mulder-Kläsener, Alkmaar, fl. 20, to the museum (L. 2228), 1913

Object number: RP-T-1913-157

This is a fairly faithful copy after part of the first and a small fragment of the second in a series of woodcuts known as the Moeurs et fachons des Turcs designed by Pieter Coecke van Aelst I (1502-1550) and published by his widow three years after his death (e.g. inv. nos. RP-P-OB-2304A and RP-P-OB-2304B).⁶⁶N. Orenstein, ‘Customs and Fashions of the Turks’, in E. Cleland et al. (eds.), Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry, exh. cat. New York (Metropolitan Museum of Art) 2014-15, pp. 176-82, no. 45. When placed side by side, the prints form a frieze 4.5 metres long. Although Du Gardijn followed his model quite closely, he did take some liberties. He omitted the two standing soldiers who play such a prominent role in the first print and, as a result, had to use his imagination to fill in parts of the figures behind them that had originally been hidden. Nor did he make any attempt to imitate the distinctive linearity of the woodcut, but translated its parallel hatchings into passages of wash.

Five other double-sided drawings by Du Gardijn copied from sections of Pieter Coecke's Moeurs et fachons des Turcs are preserved in the Wallraf-Richartz-Museum & Fondation Corboud, Cologne (inv. nos. Z 1723, Z 1721, Z 1720, Z 1717 and Z 1719 ).⁷⁷H. Robels, Niederländische Zeichnungen vom 15. bis 19. Jahrhundert im Wallraf-Richartz-Museum Köln, coll. cat. Cologne 1983 (Kataloge des Wallraf-Richartz-Museums Graphische Sammlung, vol. 1), nos. 136-39 and 141. One drawing⁸⁸inv. no. Z 123; ibid., no. 136. isolates the two large foreground figures that Du Gardijn omitted from the Amsterdam drawing; interestingly, he credited his model in an annotation on this sheet: Piet Koek van Aelst inv: G. du Gardin fecit/ 1 ost. It is puzzling that even drawings of this type have price notations. The recto and verso of a sixth sheet in the same collection (inv. no. Z 1718) are covered with similar figures,⁹⁹Ibid., no. 140. but were not copied directly from one of the prints.

Marijn Schapelhouman, 1998

W. Nijhoff, Nederlandsche houtsneden, 1500-1550. Reproducties van oude Noord- en Zuid-Nederlandsche houtsneden op losse bladen met en zonder tekst in de oorspronkelijke grootte, 3 vols., The Hague 1931-39, I (1931), p. 70, pls. 268-69 (as Dujardin); L.C.J. Frerichs, Berchem en de Bentgenoten in Italië, exh. cat. Amsterdam (Rijksprentenkabinet) 1970, no . 69 (as Karel Dujardin); H. Robels, Niederländische Zeichnungen vom 15. bis 19. Jahrhundert im Wallraf-Richartz-Museum Köln, coll. cat. Cologne 1983 (Kataloge des Wallraf-Richartz-Museums Graphische Sammlung, vol. 1), p. 98, under no. 141 (as attributed to Karel Dujardin); G. Jansen and G. Luijten, Italanisanten en bambocianten. Het italianiserend landschap en genre door Nederlandse kunstenaars uit de zeventiende eeuw, exh. cat. Rotterdam (Museum Boymans-van Beuningen), 1988, p. 93, under no. 53 (n. 1; as attributed to Karel Dujardin); S. de Vries (ed.), Twee olieverfschetsen van Guilliam de Gardijn. Een toeschrijving met verrassende gevolgen, Alkmaar 1995, unpaginated (fig. 12) (as Guilliam du Gardijn); M. Schapelhouman and P. Schatborn, Dutch Drawings of the Seventeenth Century in the Rijksmuseum, Amsterdam: Artists Born between 1580 and 1600, 2 vols., coll. cat. Amsterdam 1998, no. 116; P. Schatborn, with J. Verberne, Drawn to Warmth: 17th-century Dutch Artists in Italy, exh. cat. Amsterdam (Rijksmuseum) 2001, p. 76 (n. 12)

M. Schapelhouman, 1998, 'Guilliam du Gardijn, Turkish Soldiers around a Camp Fire, 1605 - 1647', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200125794