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Lot Essay
During the 16th Century, most of the brass and bronze objects to be found in the churches of the Netherlands, had been destroyed to help the war effort. Therefore there was a great demand for chandeliers in the 17th Century. This was exacerbated by the new style of service in the Dutch reformed church, whereby the community was required to sing hymns and psalms and therefore needed more adequate lighting.
The leading centre for brassfoundry in the republic during the 17th Century was Amsterdam. It was here that in 1627 Elias Eliasz. van Vliet (c. 1609-1652) is first mentioned. He had been an apprentice to Jochem Cornelisz. in Groningen until 1626, when lack of commissions forced him to come to Amsterdam looking for work. Elias Eliasz. was one of the few brass-founders who stamped his work, prior to 1642 he used the initials EE, after that date he added the initial V of his surname Vliet.
After his father's death in 1652 Elias Eliasz. jr. continued his father's workshop on the Nieuwendijk, Amsterdam till his death in 1672. He also continued using the same initials: EEV. This dates the present lot to some time between 1642 and 1672. It is likely however that it was made by Elias Eliasz. sr. as it shows great similarity to a chandelier he produced and dated, 1642, for the Bergkerk in Deventer.
Both father and son must have stood in high regard as they were contracted by churches throughout the republic and beyond. In the church at Skagero, Norway, there are three chandeliers from their workshops.
B. Dubbe, 'Het Amsterdamse geelgietersambacht in de 17e eeuw, Nederlands Kunsthistorisch Jaarboek 31(1980), pp. 137-153
O.ter Kuile, Koper en brons in het Rijksmuseum, 1986, The Hague, 134-135
See illustration
The leading centre for brassfoundry in the republic during the 17th Century was Amsterdam. It was here that in 1627 Elias Eliasz. van Vliet (c. 1609-1652) is first mentioned. He had been an apprentice to Jochem Cornelisz. in Groningen until 1626, when lack of commissions forced him to come to Amsterdam looking for work. Elias Eliasz. was one of the few brass-founders who stamped his work, prior to 1642 he used the initials EE, after that date he added the initial V of his surname Vliet.
After his father's death in 1652 Elias Eliasz. jr. continued his father's workshop on the Nieuwendijk, Amsterdam till his death in 1672. He also continued using the same initials: EEV. This dates the present lot to some time between 1642 and 1672. It is likely however that it was made by Elias Eliasz. sr. as it shows great similarity to a chandelier he produced and dated, 1642, for the Bergkerk in Deventer.
Both father and son must have stood in high regard as they were contracted by churches throughout the republic and beyond. In the church at Skagero, Norway, there are three chandeliers from their workshops.
B. Dubbe, 'Het Amsterdamse geelgietersambacht in de 17e eeuw, Nederlands Kunsthistorisch Jaarboek 31(1980), pp. 137-153
O.ter Kuile, Koper en brons in het Rijksmuseum, 1986, The Hague, 134-135
See illustration