Offered by Kollenburg Antiquairs BV
The table is borne by four transversely oriented legs in the shape of S volutes that stand upon ball feet. The legs are interconnected by a mildly undulating, X-shaped stretcher with a central plateau. The legs carry the block, which incorporates a single drawer at the front. The overhanging rectangular top is decorated with extravagant marquetry within a frame. The marquetry of the top seems to depict a marble-topped ‘kwab’ type of table bearing a richly filled floral basket. This representation is surrounded by an elegant pattern of curling acanthus leaves that seems to spring forth from the depicted table’s legs. The pattern itself is decorated in turn with a large variety of flowers, birds and insects. The box, drawer, legs and crosspiece between the legs are also decorated with rich marquetry featuring floral motifs on an ebony background that accentuates the lighter woods of the composition.
The pronounced floral compositions were likely inspired by the graphic works and paintings of Jean Baptiste Monnoyer (Lille 1636 - London 1699). Monnoyer specialised in the portrayal of flower still lifes, often placed in baskets or vases. Considering that he settled in London in 1690, it is no great stretch to assume that his designs readily made their way across the Channel, as the Netherlands and England maintained close relations in that period.
The Glorious Revolution in 1688 saw Stadtholder Willem III of Orange-Nassau and his wife Maria Stuart become King and Queen of England. This created close political and mercantile ties between England and the Netherlands, which fostered a strong climate of exchange between the two countries that is reflected in furniture dating from those years. William and Mary brought many Dutch furniture makers to their new court in England, but a clear influence of the English style is visible in the Netherlands as well.
Jan van Mekeren (1658-1733), a well-known furniture maker from Amsterdam, also worked in London from 1682 to 1687. It is likely that he furthered his mastery of refined marquetry during these years. English influences are clearly visible in this table. Very typical for tables by Van Mekeren are centrally placed baskets filled with luxurious bouquets, which can also be found on Delftware from this period.
Despite the many similarities in the high-quality marquetry and the composition, which are strongly reminiscent of Jan van Mekeren’s work, it is not inconceivable that this table is the work of another talented but unknown maker in Van Mekeren’s immediate circle. One noteworthy detail are the fine white bone flowers found on the top as well as the legs. Very similar bone flowers feature on a cabinet in Rijksmuseum, whose maker is still unknown. Another similarity between this table and the Rijksmuseum cabinet is the marble imitation that forms the tabletop, on which the flower basket and flower vases are placed. One possible maker is Jan van Zanten, about whom nothing is known other than the fact that a number of “rare inlaid cabinets, tables etc.” by his hand forming part of an estate were sold in Amsterdam in April 1714.
Literature:
Reinier Baarsen, Nederlandse meubelen, 1600-1800, Zwolle 1993, p. 56-61
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