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| attributed to Guilliam du Gardijn Roman ruins, probably the Baths of Diocletian ca. 1620-47 drawing British Museum |
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| attributed to Guilliam du Gardijn Roman ruins, possibly the Baths of Trajan ca. 1620-47 drawing British Museum |
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| attributed to Guilliam du Gardijn Roman ruins, possibly the Baths of Trajan, partly used as modern dwelling ca. 1620-47 drawing British Museum |
"It is only recently that Guilliam du Gardijn has been recognized as an artist. In the past, not entirely unsurprisingly, he was confused with Karel Dujardin and his drawings were attributed to the latter artist. Born in Cologne, the banns for his marriage were published in Amsterdam in 1618 when he was 22. His first wife died and he remarried in 1639. In 1647 he was still living in Amsterdam, because we know that in that year the German painter Hendrik Roos was staying in his studio. There is no documentary evidence that Du Gardijn visited Italy, but the nature of his drawings and the Italian paper on which they are executed make it highly likely that he did go there."
"Du Gardijn was a contemporary of Cornelis Poelenburgh and Bartholomeus Breenbergh, and his drawings display all sorts of similarities with their work, particularly Poelenburgh's. It is also possible to detect the influence of the late drawings of Paul Bril, which were done with a brush in brown and grey over sketches in black chalk. Du Gardijn's stay in Italy probably coincided with theirs, which means that it will have been during the 1620s. Like Poelenburgh and Breenbergh, Du Gardijn made several drawings on large sheets of paper with a fold in the middle. He drew sitting on the ground – in other words from a low vantage point – and used both sides of the paper; the scenes on them are in different orientations. Ruins and caves were favourite subjects, but Du Gardijn also drew ships and copied the work of other artists."
– Peter Schatborn, from the catalogue of a 2001 exhibition at the Rijksmuseum, published in English as Drawn to Warmth: 17th-century Dutch artists in Italy, translated by Lynne Richards
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| Guilliam du Gardijn Landscape with figures overlooking ruins before 1647 drawing private collection |
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| Guilliam du Gardijn Ruins of the Roman Forum ca. 1620-47 drawing private collection |
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| Guilliam du Gardijn Vaults in a cavelike ruin before 1647 drawing Rijksmuseum, Amsterdam |
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| Guilliam du Gardijn View in a cave (above) and Roman ruin (below) before 1647 drawing (verso of drawing directly above) Rijksmuseum, Amsterdam |
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| Guilliam du Gardijn View of bridge and waterfall at Tivoli ca. 1640-45 drawing Metropolitan Museum of Art, New York |
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| Guilliam du Gardijn View of waterfall at Tivoli from within a cave ca. 1640-45 drawing (verso of drawing directly above) Metropolitan Museum of Art, New York |
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| Guilliam du Gardijn View of the Ponte San Rocco at Tivoli ca. 1640-45 drawing Metropolitan Museum of Art, New York |
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| Guilliam du Gardijn Buildings on the River Aniene near Tivoli ca, 1640-45 drawing (verso of drawing directly above) Metropolitan Museum of Art, New York |
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| Guilliam du Gardijn Pharoah's daughter discovers Moses in the rush basket ca. 1615-30 oil on panel (Du Gardijn's only known surviving painting) Rijksmuseum, Amsterdam |
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| Guilliam du Gardijn Italian sailing vessel (galley) at anchor before 1647 drawing Rijksmuseum, Amsterdam |
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| Guilliam du Gardijn Italian sailing vessel (galley) with oars extended before 1647 drawing (verso of drawing directly above) Rijksmuseum, Amsterdam |