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Lot Essay
The collector's cabinet was first introduced in the 16th century. It was an exclusive piece of furniture which would initially only be commissioned by the most priviliged members of society. It was not only the cabinet itself, but also the collection it housed that were intended to reflect the connoisseurship and worldliness of its owner. Some of the most stunning examples of these early cabinets were commissioned by the Augsburg merchant Philip Hainhofer (1578-1647). The most important example was the Pommersche Kunstschranck which was sadly destroyed during the second world war.
In the Netherlands there was also a keen interest in collecting the so called naturalia and artificia; or rare objects from nature, science and history. Many of these artefacts first came to Europe through the port of Amsterdam, which had mercantile connections throughout the world; from Russia to Japan and from the West to the East Indies. This influx of luxury goods not only brought great wealth to The Republic, it also stimulated a flourishing art market. This meant that there was ample opportunity for collectors to acquire good pieces for their collections (E. Bergvelt (ed.), Verzamelen, van rariteitenkabinet tot kunstmuseum, Heerlen 1993).
Like other Dutch furniture, Dutch collector's cabinets were more restrained and sober than those made in Germany, Antwerp or France. At first glance the present lot looks like an ordinary cabinet, although it has the same proportions, it is a lot smaller. In the 18th Century these cabinets were referred to as boogcabinetten, so called because of their characteristically arched cornices. This type which became popular from the mid 18th century soon replaced the more rectangular types which were favoured during the first half of the century.
Some of the more attractive features of this cabinet are; the costly amboyna veneer, the scrolling clasp centring the cornice which is echoed in the inlay heading the doors and the elaborate scrolling marquetry inlay beneath the arch. The interior has been fitted with forty-eight shallow padouk drawers, which can accomodate a sizeable collection of coins.
See illustration
In the Netherlands there was also a keen interest in collecting the so called naturalia and artificia; or rare objects from nature, science and history. Many of these artefacts first came to Europe through the port of Amsterdam, which had mercantile connections throughout the world; from Russia to Japan and from the West to the East Indies. This influx of luxury goods not only brought great wealth to The Republic, it also stimulated a flourishing art market. This meant that there was ample opportunity for collectors to acquire good pieces for their collections (E. Bergvelt (ed.), Verzamelen, van rariteitenkabinet tot kunstmuseum, Heerlen 1993).
Like other Dutch furniture, Dutch collector's cabinets were more restrained and sober than those made in Germany, Antwerp or France. At first glance the present lot looks like an ordinary cabinet, although it has the same proportions, it is a lot smaller. In the 18th Century these cabinets were referred to as boogcabinetten, so called because of their characteristically arched cornices. This type which became popular from the mid 18th century soon replaced the more rectangular types which were favoured during the first half of the century.
Some of the more attractive features of this cabinet are; the costly amboyna veneer, the scrolling clasp centring the cornice which is echoed in the inlay heading the doors and the elaborate scrolling marquetry inlay beneath the arch. The interior has been fitted with forty-eight shallow padouk drawers, which can accomodate a sizeable collection of coins.
See illustration