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拍品专文
The inlaid engraved mother-of-pearl technique of the present panel is characteristic of the work of Van Rijswijck. This is reminiscent of pietre-dure inlays and was to become Van Rijswijck's speciality. Although he only used mother-of-pearl and sparingly coloured marbles and stones, he was able to achieve a polychrome effect by using the colour variations within the different layers of mother-of-pearl, and different shells. The present example can be placed in a group of panels which all have the same basic design of a floral bouquet issuing from a vase with a chained monkey to one side. Kisluk Grosheide lists two comparable plaques in the collection of the Victoria and Albert museum, cat. nos XI and XII, and another now in the Rijksmuseum cat. no. XIV.
Dirck van Rijswijck (1596 - 1679) was born in Cleves and was trained as a goldsmith. He moved to Antwerp in 1620 to work for the goldsmith Denys van Zele (ca. 1579 - after 1630). Around 1630 van Rijswijck moved to Amsterdam, where at first he worked as a gold and silversmith, gradually also working with engraved mother-of-pearl. From the middle of the 17th Century he started to inlay mother-of-pearl in slate or ebony. He was to become so famous for this work in his own time that Dirck van Rijswijck (1596-1679), a Master of Mother-of-Pearl, Oud Holland, vol.III, 1997, no. 2, pp. 1 - 88.
Dirck van Rijswijck (1596 - 1679) was born in Cleves and was trained as a goldsmith. He moved to Antwerp in 1620 to work for the goldsmith Denys van Zele (ca. 1579 - after 1630). Around 1630 van Rijswijck moved to Amsterdam, where at first he worked as a gold and silversmith, gradually also working with engraved mother-of-pearl. From the middle of the 17th Century he started to inlay mother-of-pearl in slate or ebony. He was to become so famous for this work in his own time that Dirck van Rijswijck (1596-1679), a Master of Mother-of-Pearl, Oud Holland, vol.III, 1997, no. 2, pp. 1 - 88.