拍品專文
During the last phase of Dutch neoclassical marquetry furniture, between circa 1780 and 1795, a new type of decoration was developed. Characteristic of this new style are the slender and simple rectilinear forms, and a distinctive marquetry decoration of light woods, predominantly of satinwood, harewood and tulipwood, usually with amaranth borders and boxwood and ebony lines. While marquetry furniture produced in the preceding period was clearly endebted to France, this later phase demonstrates similarities with English marquetry furniture of the 1780s and 1790s. This transition may have taken place due to the influx of English furniture designs, such as Hepplewhite's The Cabinet-Maker and Upholsterer's Guide (1788) and Sheraton's The Cabinet-Maker and Upholsterer's Drawing-Book (1794), which probably became an important source of inspiration for Dutch furniture-makers. (R.J. Baarsen, Meubelen en Zilver op de tentoonstelling `Edele Eenvoud, Neo-classicisme in Nederland 1765-1800', Frans Halsmuseum, Haarlem, 1989, p.119)
Dutch cabinet-makers occasionally referred to their furniture as `English', which undoubtably reflects the influence of the above-mentioned imported designs. When the contents of the workshop of Johan Breytspraak (ca.1735-1795) were sold after his death, the advertisement of the sale mentioned that the items of furniture were executed `... in the Local, French and English style'. Breytspraak was probably the most celebrated cabinet-maker in Amsterdam at the end of the 18th Century, whose success may have been based on his abilty to work in these different styles. The English origins of Joseph Bull, whose workshop was on a more modest scale, were put to good use in several advertisements between 1787 and 1792. Bull called himself `Mr. Engelsche Kastenmaker' and `Mr. Kabinetwerker van London' on several occasions, and organised three furniture lotteries in 1787 and 1788 at which `English' furniture was among the prizes. (R.J. Baarsen, `Andries Bongen (ca. 1732-1792) en de Franse invloed op de Amsterdamse kastenmakerij in de 2de helft van de achttiende eeuw' Oud Holland 107 (1993), pp. 42-43 and note 154)
It seems paradoxical that this type of Dutch neoclassical furniture, with restrained marquetry decoration, is often inlaid with panels of Japanese, Chinese or imitation lacquer. Reinier Baarsen has suggested that this type of decoration may have been a speciality of Hague cabinet-makers. The most celebrated to work in this genre was Matthijs Horrix (1735-1809), who became the most prominent supplier of furniture to the Stadholder's Court between 1767 and 1795. Princess Wilhelmina of Prussia, the wife of Stadholder Prince William V, paid Horrix 557 florins in 1780 `vor Comodes wozu ihm Chinesisch Lackwerck geliefert', which is the earliest mention of furniture decorated in this manner at the end of the 18th Century. (R.J. Baarsen, `In de commode van Parijs tot Den Haag', Matthijs Horrix (1735-1809), een meubelmaker in Den Haag in de 2de helft van de 18de eeuw', Oud Holland 107 (1993), p. 176)
See illustration
Dutch cabinet-makers occasionally referred to their furniture as `English', which undoubtably reflects the influence of the above-mentioned imported designs. When the contents of the workshop of Johan Breytspraak (ca.1735-1795) were sold after his death, the advertisement of the sale mentioned that the items of furniture were executed `... in the Local, French and English style'. Breytspraak was probably the most celebrated cabinet-maker in Amsterdam at the end of the 18th Century, whose success may have been based on his abilty to work in these different styles. The English origins of Joseph Bull, whose workshop was on a more modest scale, were put to good use in several advertisements between 1787 and 1792. Bull called himself `Mr. Engelsche Kastenmaker' and `Mr. Kabinetwerker van London' on several occasions, and organised three furniture lotteries in 1787 and 1788 at which `English' furniture was among the prizes. (R.J. Baarsen, `Andries Bongen (ca. 1732-1792) en de Franse invloed op de Amsterdamse kastenmakerij in de 2de helft van de achttiende eeuw' Oud Holland 107 (1993), pp. 42-43 and note 154)
It seems paradoxical that this type of Dutch neoclassical furniture, with restrained marquetry decoration, is often inlaid with panels of Japanese, Chinese or imitation lacquer. Reinier Baarsen has suggested that this type of decoration may have been a speciality of Hague cabinet-makers. The most celebrated to work in this genre was Matthijs Horrix (1735-1809), who became the most prominent supplier of furniture to the Stadholder's Court between 1767 and 1795. Princess Wilhelmina of Prussia, the wife of Stadholder Prince William V, paid Horrix 557 florins in 1780 `vor Comodes wozu ihm Chinesisch Lackwerck geliefert', which is the earliest mention of furniture decorated in this manner at the end of the 18th Century. (R.J. Baarsen, `In de commode van Parijs tot Den Haag', Matthijs Horrix (1735-1809), een meubelmaker in Den Haag in de 2de helft van de 18de eeuw', Oud Holland 107 (1993), p. 176)
See illustration