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Lot Essay
This beautifully-carved bench, conceived entirely frontally and centered by a monogram cartouche is a fine example of baroque work executed by Dutch sculptors. It relates to the 'Louis XIV' manner of William and Mary's architect designer, Daniel Marot (1662-1752). These sculptors concentrated on decorative work, they designed and executed ornamental stonework and carving on buildings, and excelled in the production of spectacular panelling, buffet cupboards, console tables and other adornments for the interior (R. Baarsen, Beeldhouwers, beeldsnijders en meubelmakers', in R. Baarsen (ed.), exh. cat. Rococo in Nederland, Amsterdam, 2001-2002, pp. 178-213). Carved benches very much formed part of their repertoire. Hall benches were in use in Holland from the second half of the 18th Century onwards, and Marot may be credited with the introduction of the tall garden bench (H.J. Hijmersma, 'Een wijle van rust in de buitensael', Een gebeeldhouwde tuinbank naar ontwerp van Daniel Marot', Nederlands Kunsthistorisch Jaarboek 31 (1980), pp. 279-284)
The present bench was probably a specific commission, and may also have been used as a garden bench, although most remaining examples are to be found in hall. These remained in vogue in the middle years of the 18th Century: for instance, in 1744 and 1746 the Amsterdam sculptor Thomas van Zeventher advertised that he had made 'large and small carved and painted garden prospects or benches for seating' (Rococo in Nederland, p. 63). The term 'garden prospects' refers to the important role accorded to these sculptural elements in the termination of vistas, as seen in some of Marot's drawings and engravings of gardens. A design of about 1735 for a tall garden bench with hunting motifs is attributed to another sculptor working in Amsterdam, Frans Blancard, and the curiously old-fashioned series of engraved designs by the Middelburg sculptor Gerard de Grendel published in Augsburg around 1745-1755 include two highly fanciful examples (Rococo in Nederland, p. 183, fig. VII.8, and cat. no. 58).
The present bench was probably a specific commission, and may also have been used as a garden bench, although most remaining examples are to be found in hall. These remained in vogue in the middle years of the 18th Century: for instance, in 1744 and 1746 the Amsterdam sculptor Thomas van Zeventher advertised that he had made 'large and small carved and painted garden prospects or benches for seating' (Rococo in Nederland, p. 63). The term 'garden prospects' refers to the important role accorded to these sculptural elements in the termination of vistas, as seen in some of Marot's drawings and engravings of gardens. A design of about 1735 for a tall garden bench with hunting motifs is attributed to another sculptor working in Amsterdam, Frans Blancard, and the curiously old-fashioned series of engraved designs by the Middelburg sculptor Gerard de Grendel published in Augsburg around 1745-1755 include two highly fanciful examples (Rococo in Nederland, p. 183, fig. VII.8, and cat. no. 58).