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拍品專文
In 1660 the celebrated Dutch poet Joost van den Vondel (1587-1679) began a poem with these lines - having been inspired by a slate tabletop inlaid with mother-of-pearl (now in the collection of the Rijksmuseum Amsterdam), that was made by Dirck van Rijswijck.
Van Rijswijck specialized in fine mother of pearl marquetry panels, usually with floral motifs inset into a black background. At first van Rijswijck used ebony, but this material - mounted on an oak panel - was subject to warping and shrinkage cracks, which is probably the reason why van Rijswijck started using, black marble as a foundation in the 1660s. The resulting work undoubtedly was inspired by various exotic materials and works of art that were imported in quantities into Amsterdam in the 17th century. Most notably of course this technique achieves a similar result as Japanese lacquer, some of which also used mother of pearl inlays; however van Rijswijck also used variously coloured hard stones in his composition reflecting the Florentine pietre dure panels of the day. Incorporating these various techniques and using the colour variations naturally occurring in the mother of pearl to great effect van Rijswijck made a product that was highly sought after in his day. In fact the Octagonal table top that Vondel refers to was so famous in the seventeenth century that it was mentioned in tourist guides of Amsterdam. Of course people coming to see the famous table top were able to acquire a smaller panel as a souvenir.
The present panel is a rare example of van Rijswijcks earlier work and possibly the only octagonal panel extant. It falls into a group of panels with similar floral bouquets inset into a rounded vase and inlaid into an ebony ground that can be dated to the 1650s. A comparable arched panel with very similar floral vase is in the collection of the Gruenes Gewoelbe in Dresden. It was acquired from the auction of the estate of Nicolaas Witsen by August the strong in 1728. The Dresden panel is dated 1654. Kisluk Grosheide mentions another similar panel dated 1653 Op. Cit. cat No. III , needless to say these early and relatively large scale works are extremely rare.
This early group all share a similar composition with various flowers and insects in an Italian renaissance style vase on a ledge. This composition was no doubt inspired by floral still lifes of Ambrosius Boschaert the elder and his brother in law Balthasar van der Ast.
Some of their compositions, particularly those by Boschaert are very similar to van Rijswijcks. The choice of depicting a flower vase in the style of the early Dutch painters rather than those of his own time, like Jan Davidsz. de Heem, was most likely a practical choice because their symmetrical bouquets composed of individual flowers lent themselves better to van Rijswijck's two dimensional marquetry.
Van Rijswijck specialized in fine mother of pearl marquetry panels, usually with floral motifs inset into a black background. At first van Rijswijck used ebony, but this material - mounted on an oak panel - was subject to warping and shrinkage cracks, which is probably the reason why van Rijswijck started using, black marble as a foundation in the 1660s. The resulting work undoubtedly was inspired by various exotic materials and works of art that were imported in quantities into Amsterdam in the 17th century. Most notably of course this technique achieves a similar result as Japanese lacquer, some of which also used mother of pearl inlays; however van Rijswijck also used variously coloured hard stones in his composition reflecting the Florentine pietre dure panels of the day. Incorporating these various techniques and using the colour variations naturally occurring in the mother of pearl to great effect van Rijswijck made a product that was highly sought after in his day. In fact the Octagonal table top that Vondel refers to was so famous in the seventeenth century that it was mentioned in tourist guides of Amsterdam. Of course people coming to see the famous table top were able to acquire a smaller panel as a souvenir.
The present panel is a rare example of van Rijswijcks earlier work and possibly the only octagonal panel extant. It falls into a group of panels with similar floral bouquets inset into a rounded vase and inlaid into an ebony ground that can be dated to the 1650s. A comparable arched panel with very similar floral vase is in the collection of the Gruenes Gewoelbe in Dresden. It was acquired from the auction of the estate of Nicolaas Witsen by August the strong in 1728. The Dresden panel is dated 1654. Kisluk Grosheide mentions another similar panel dated 1653 Op. Cit. cat No. III , needless to say these early and relatively large scale works are extremely rare.
This early group all share a similar composition with various flowers and insects in an Italian renaissance style vase on a ledge. This composition was no doubt inspired by floral still lifes of Ambrosius Boschaert the elder and his brother in law Balthasar van der Ast.
Some of their compositions, particularly those by Boschaert are very similar to van Rijswijcks. The choice of depicting a flower vase in the style of the early Dutch painters rather than those of his own time, like Jan Davidsz. de Heem, was most likely a practical choice because their symmetrical bouquets composed of individual flowers lent themselves better to van Rijswijck's two dimensional marquetry.