Around 1600 a number of Dutch cities became large enough to make specialization economically viable and guilds devoted exclusively to the production of painted furniture were founded in the largest... Show moreAround 1600 a number of Dutch cities became large enough to make specialization economically viable and guilds devoted exclusively to the production of painted furniture were founded in the largest cities, Amsterdam first of all. In these guilds, the craftsmen were called witwerkers, referring to their use of softwood, also known as white wood at the time. From 1650 onwards witwerkers guilds were founded in an ever-growing number of cities, first in the Noord- and Zuid-Holland provinces, and finally, in the 18th century, throughout the whole western part of The Netherlands.Based on extensive archival research, including notary inventories and guild regulations and through a close analysis of hundreds of surviving pieces, Hans Piena has made a detailed study of the development of the production and use of painted softwood furniture in the Netherlands. The late 19th and early 20th century perception of painted furniture as having ancient folk origins is shown to be a myth, and numerous fakes are identified and the time and place of their production made clear. Show less
Tussen hamer en aambeeld is a social economic study into several aspects of the goldsmiths profession in Friesland during the seventeenth century. The study, based on comprehensive research in... Show moreTussen hamer en aambeeld is a social economic study into several aspects of the goldsmiths profession in Friesland during the seventeenth century. The study, based on comprehensive research in archives, describes the influence of monetary laws, guilds and trade patterns on the lives and the works of the goldsmiths in Bolsward and Leeuwarden. During the Golden Age the craft was confronted with problems caused by the rigid monetary policy of the Frisian States. The Frisian goldsmiths became evermore depended on the import of silver from Amsterdam. The price of this silver rose while the selling price in Friesland remained fixed. In order to keep the profession exclusive the goldsmiths took protective measures and searched for creative solutions. Around 1672 many of the craftsmen were confronted with financial mishap. Some goldsmiths with a solid reputation, based on objects that survived the ages, set up a trade network with jewelers from Amsterdam. What are the consequences of this trade for the reputation of Frisian silver? The book contains biographies of the goldsmiths from Bolsward and new information about their marks. Show less
From the early days of tapestry weaving in Western Europe, production included tapestries of smaller dimension like cushions and bank covers. During the 14th and 15th centuries they often formed... Show moreFrom the early days of tapestry weaving in Western Europe, production included tapestries of smaller dimension like cushions and bank covers. During the 14th and 15th centuries they often formed part of a tapestry suite including bed- and wall-hangings. Seat furniture with tapestry coverings nailed to the frame appeared around 1550. In the 17th century furniture tapestries numbers increased further, especially in the Netherlands, comprising covers for cushions, beds, seat furniture, table carpets and chimney valances, and produced in the many local workshops. In France however, tapestries were then almost exclusively used as wall-hangings. Only circa 1700 did furniture tapestries become more popular there, and soon after 1750 French production knew its first hey-day, with important workshops situated in Paris, Beauvais and Aubusson. The economic crisis following the French revolution had severe repercussions for all tapestry manufactories. Shortly after Napoleon became Emperor, the former royal workshops of the Gobelins and Beauvais started weaving furniture tapestries for the imperial residences, which practice continued under subsequent regimes. Large scale production of furniture tapestries in the private looms of Aubusson flourished after 1860. Around the same time tapestry manufactories (re)opened in Belgium at Ingelmunster, Mechelen and Brussels. Throughout the centuries the popularity of furniture tapestry may have fluctuated, but its solidity and richness of materials, its iconography and aristocratic status were always appreciated Show less
