Born in the village of Ezinge in 1744, the young Hermanus Numan became enchanted by the painting activities in his father's lacquer workshop in Groningen. His parents carefully chose to give Herman an apprenticeship to the wallpaper manufacturer Jan Augustini (1725-1773) in Haarlem where Egbert van Drielst (1745-1818) was an apprentice as well. After this apprenticeship of four years Herman returned to Groningen. From there he travelled to Paris with the compliments of Professor Petrus Camper (1722-1789) and met the engraver Jacques-Philippe Le Bas (1707-1783) who must have taught him the principles of etching.
Herman returned to The Netherlands and settled in the thriving city of Amsterdam where he met Jurriaan Andriessen (1742-1819). The artists collaborated in fabricating the stage screens for the new Amsterdam theater after the fire of 1772. Numan made a series of twenty-four printdrawings depicting "Hollandsche Buitenplaatsen" (Dutch Country Seats) in 1797. These were etched outline-plates which were hand-coloured afterwards. In 1788 Herman became member of Drawing Society Felix Meritis (Amsterdam) of which he was director between 1789-1792 and 1809-1813.[1][2]
Numan is most renowned for being a meticulously fine topographical draughtsman and landscapist, which breathes through every square centimeter of this finely executed drawing which shows a view on the Warmoesgracht, seen from the Herengracht towards het Singel with the Royal Palace at The Dam in the distance. The Warmoesgracht was filled in between 1895-1896 and the houses between Het Singel and the Spuistraat were demolished for the construction of the Raadhuisstraat. In the distant center clearly discernable the facade, top roof and tower of the Royal Palace on The Dam, designed by Jacob van Campen (1596-1657). The lantern on the far left appears to be the model invented by Jan van der Heyden (1637-1712) and closely resembles the lantern in a drawing by Reinier Vinkeles (1741-1816) which was on the market recently.[3]
Numan was one of the very first artists in The Netherlands to use velin or wove paper (which is also the case in our drawing), which was invented in the UK. The smooth surface of this paper shows the expression of wash in watercolours to the fullest extent. Numan ranks in the same line of most prominent landscape artists together with Aert Schouman (1710-1792), Jurriaan Andriessen (1742-1819) and Egbert van Drielst (1745-1818). Contrary to the earlier topographical draughtsmen like Cornelis Pronk (1691-1759) and Jan de Beijer (1703-1780), Numan doesn't primarily focus on the architectural elements, but also pays attention to lush vegetation and his drawings of country estates are unsurpassed.
This very fine drawing by Numan in full-colour shows the same view as the drawing by Numan in the coll. van Eeghen, dated 1812 (preserved in the City Archives of Amsterdam), though fully worked out and the mature version of it's earlier version and predecessor dated 1812.[4][5] The number 2 on the upper center on the verso also indicates this is a second version. Charles Dumas dates the present drawing around 1815.[6]
[1] Van Eijnden & Van der Willigen, Geschiedenis der Vaderlandsche Schilderkunst, III (1820) pp. 25-28
[2] J.W. Niemeijer, Hollandse aquarellen uit de 18de eeuw in het Rijksprentenkabinet, Rijksmuseum, Amsterdam. Waanders, Zwolle, 1990. pp. 106-109.
[3] Reinier Vinkeles, A view of the Oude Kerk, Amsterdam, seen from the Oudezijds Voorburgwal.
Black chalk, grey wash, grey ink/paper
222 x 278 mm. Christie's, London. 3 July 2018, lot #68.
[4] B. Bakker, E. Fleurbaay, A.W. Gerlagh, De Verzameling van Eeghen, Amsterdamse tekeningen 1600-1950. Waanders, Zwolle/Gemeentearchief Amsterdam, 1988. No.263 on p.272
[5] Hermanus Numan, Warmoesgracht (1812).
Pencil, pen and brown ink, watercolour, 172 x 207 mm.
Stadsarchief Amsterdam, inv. no. 010055000186
[6] Correspondence by e-mail, 16 November 2024.
