A miniature cabinet of curiosities

A miniature cabinet of curiosities

From a small oak cabinet datable to around 1700 a group of various objects looks at us. The miniatures were brought together by us in this small cupboard and they are proof of Dutch 17^th-century prosperity in various materials.

Jan Luyken, Doll goods, book illustration by Jan Luyken, Des Menschen begin, midden en einde, Amsterdam 1712, Amsterdam, Rijksmuseum, inv.n° KOG-ZG-1-19A-40

This so-called kruispoot kabinet (cross feet cabinet) is a miniature model. At the back top there are two suspension rings to hang the cabinet. Such miniature pieces of furniture were often manufactured by an apprentice as a so-called proefstuk  (masterpiece) before he was appointed master in his discipline of craftmanship. Such cabinets were often used for storage.  Sometimes such small pieces of furniture were used as children’s toys, as one can see on a print by Jan Luyken, depicting a small cabinet in use by children. It is interesting to consider that the word ‘cabinet’ initially indicated the storage furniture in which these items were kept. In time the room where such collectibles were stores was called ‘cabinet’ before ultimately the word was used to indicated a whole collection of rarities. An example for such a ‘cabinet of collectibles’ was the Kabinet (cabinet)  Van Heteren Gevers, which in 1809 was acquired en bloc for the Rijksmuseum.

Cabinet of Curiosities

In English the term Cabinet of curiosities is used, in German one often speaks about a so-called Wunderkammer. Below one can admire a Cabinet of curiosities by the German painter Georg Hainz (1630-1688) which  is a lovely example of the display a collector could arrange in a  cupboard. This painting may be interpreted as an ideal as an ideal image of collecting aspirations. The costly objects, manufactured from various materials, are realistically depicted.

Displayed are the treasures of a collector, a large goblet, exotic shells, valuables, and a skull. The combination of valuable artworks and scallops was not unusual, The often exotic shells originating from far-away regions were considered a valuable possession during the 17rt century.  The demonstrated the appreciation for exotic objects and the details of God’s creation.  Miniatures were mostly present in such cabinets of extraordinary collectibles. In Hainz’s picture we see a small skull in the left center opposite to a larger one depicted on the right side.   The fascination for the small, something large imitated in miniature, is something we see throughout the ages.

Georg Hainz, A Cabinet of curiosities, circa 1680, oil on canvas, 118 x 96 cm, collection Amsterdam Museum, inv.n° SA2120

In royal cabinets, the so-called Kunst- und Wunderkammern of the 16th and 17th centuries, small miniatures were a regular feature. Micro carving in cherry pits and rice grains, tiny carving in ivory or finely executed inlay or mounted pearls only measuring a few centimeters, it is hard to imagine that such things appeared in the collections of kings and other nobility.

The Grünes Gewölbe in Dresden for instance, still owns a collection of such miniatures brought together by the monarch August der Starke of Saxony, at the beginning of the 18^th century. Models of built houses or palaces were often part of a Wunderkammer-collection.  Albrecht V, Duke of Bavaria ordered for his Munich Kunstkammer models of five of his most important castles of his realm. In this way he could, as it were, view his entire kingdom in miniature. In 1598 a list was made up of the most important objects of this Wunderkammer. There was also a model of the princely home, that was decorated with precious kinds of woods as well as objects made in gold and silver.

This reminds us of the doll’s houses that were created during the cause of the 17^th century by the wives of the well-to-do bourgeoisie in the Netherlands and became a symbol of their status. Contrary to collecting abroad, in the Netherlands it was the well-to-do bourgeoisie who assembled collections. The ultimate example of a collection of miniatures in a cabinet was of course the doll’s house, such as that assembled by Petronella de la Court in the Centraal Museum, Utrecht, or the one owned by Petronelle Oortman in the Rijksmuseum. Obviously these were extraordinary collections and these doll’s houses were respectfully called collector’s cabinet or kunstkabinet.

Miniatures, toys or not?

Show doll’s houses such as these were obviously not meant to play with, although they certainly invite the beholder to do so, it were status symbols. But there were many more miniatures extant, especially in silver they were abundantly available for collectors. However, also other miniatures were extant in the 17^th century, manufactured in other materials. Their common ground is the fact that they all represent ordinary utensils, that were commonly used and therefore recognizable. The question arises: were they toys or were they meant for another purpose?  These small utensils still appeal to one’s imagination. Where does this fascination for the small come from and when did it originate?

Utensils in miniature were already extant from antiquity. At archaeological excavations many small ceramic and metal objects were found, such as cooking pots and grave gifts. The small utensils, it was thought, would be a support to the deceased in the after-life. Miniature objects were given in ancient Egypt, the Roman Empire but also in China. Apparently the fascination for miniature objects is a universal phenomenon of all times.

The attraction of the small is often a combination of the aesthetic, symbolic and practical reasons. It is a phenomenon has developed itself throughout history and is strongly connected to the value placed on detail and visual power of miniaturization. It originated in ancient times and further developed throughout the ages, often connected to luxury, symbolism and status, but also with emphasis on the aesthetic and exploring the small as an art form. Until far into the 18^th century an edifying message was assigned to miniature objects. By regarding these small items, one realized that one was only insignificant in earthly life.

Various miniatures were trial pieces made for the guilds. The present cabinet may be an example thereof, as could be the miniature books. If this is the case for the miniature book in this cupboard is uncertain, but it is known that the bookmakers guild of Middelburg commissioned its pupils to manufacture miniature books as a proof of their abilities. If someone could bind a book as beautifully in small size as in large, this pupil was ready to become a master.

Early on in the 17^th century miniature porcelain from China was imported by the VOC (Vereenigde Oostindische Compagnie). Because these pieces were so small, it is assumed that many of these pieces were carried in the pockets of the sailors, thus were actually smuggled. This assumption is emphasized by the fact that such small pieces do not appear on packing lists.

Obviously it was known by the VOC that there was a lot of interest in miniature porcelain. Already in 1638 the Dutch market had indicated that poppeschoteltghen en poppeschaeltgen (doll’s saucers and doll’s dishes) could be well sold.  In the shipload of a Portuguese carrier in 1637 a load of copere poppegoet as well as various porceleijne potjens schotels ende poppegoet (copper doll’s pieces and various porcelain pots, dishes and doll’s goods) were found. Later in the 17^th century buyers specifically asked for cleyn Japans porceleyn als cleijne doosgens, coffertjens en andere curieusiteytenen poppegoet (small Japanese porcelain such as small boxes, cases and other curiosities and doll’s goods), because this generated better sales in the homeland.

That these small objects originating from China and Japan were so eagerly sought after, was also noticed in Delft. Especially during the late 17th and early 18th century a lot of poppegoet (doll’s goods) was manufactured by Delft potters in their factories. There seems to have been a clear distinction between larger and small pieces, however, it is not always clear what was the purpose thereof. The two Chinoiserie figurines in the cabinet are a beautiful example of the exchange of ideas between Asia and Europe during the 17th century. A clearer example of the influence of Chinese porcelain on Delftware and on the apparent demand from the market cannot be easily established. Many of these small porcelain miniatures were not meant for play but were used as decoration in display cabinets, or on brackets in wall decoration setup and on mantelpieces.

The silver miniatures were manufactured by specialists, mainly in Amsterdam. In the 18th century the Amsterdam silversmith Pieter van Somerwil advertised in the Amsterdamsche Courant that he had established himself at Handboogstraat en that people could buy poppegoet (doll’s goods), as usual. The advertisement was meant for dealers, cashiers and shopkeepers in the whole country, who could replenish their supplies to sell on in their own cities.

All things considered the term poppegoet was a common term, although sometimes other names were given in inventory lists of silver miniatures. In estate inventories many of such small pieces were listed under silver in general. In those days silver was a separate category because it was considered to be hammered money.

In 1619 in the inventory of the Castle of Breda a dioose met ennich kyndersilverwerck (box with some children’s silverwork) was recorded. Miniature silver was often displayed on shelves, so that people could see and admire it. Separate wall display cabinets, such as the present example, also appear in inventories: in 1650 a casje met verscheyde stuckjes sulver poppegoet (a little cupboard with several pieces of silver doll’s goods); in 1656 an eiken hangend kasje met kinder poppegoedt (an oak hanging display cabinet with children’s doll’s goods); and in 1678 a cabinet with 63 stuxkens silver poppegoet (63 pieces of silver doll’s goods).

Wendela Bicker

The wife of grand pensionary Johan de Witt, Wendela Bicker, noted in her account book of 1661 a kas tot het poppegoet op de kinderekamer (an amount regarding the doll’s goods in the nursery). It concerned miniatures acquired by her in 1655, consisting of silver and porcelain.

Sometimes small cabinets with glazed doors were specifically mentioned. The inventory of an estate in Middelburg, 1670, mentions a glase casse (glazed cabinet) containing 92 pieces of silver miniatures. Agatha Steijn added a hanging display cupboard in het dowry, when she married the wealthy silk merchant Philip de Flines in 1685, a vierkant hangent glaese kasje met kinderen poppegoedt (a square hanging glazed cabinet with children’s doll’s goods, as the Dutch call it). This cabinet therefore fits in with the 17th-century tradition of collecting and keeping miniatures in a cabinet.

During the 17th century many of such miniatures were called poppengoed (doll’s goods), this much is clear from the above. The question rises what exactly is meant by poppengoed?  Was it a toy or not?

In the 17th century children’s lives were strongly connected to the prevailing norms and values of society. In many European countries, including the Netherlands, childhood was a time of education and preparation for adult life. Already from an early age children were involved with the household or profession of their parents, especially in lower social classes. In higher circles, on the other hand, children’s lives were less demanding and stressful and more often focused on education and development.

Toys were not only meant for fun during the 17th century: they often served an educational or symbolic goal. It reflected the norms and values of the time, such as discipline, social role models and the preparation for responsibilities as an adult. As such toys can be seen as a method to prepare children for their future role in society. In that sense 17th-century toys were totally different from what we regard as toys today. Most children played with simple objects that were made by their parents or other members of their social environment.

Toys had a social meaning during those days. In the upper class toys were often presented as a status symbol. Furniture and other objects for children were often made of precious materials, such as silver and could be richly decorated. This was a way to demonstrate the family’s wealth. Dolls and other toys were often presented as items that had to develop the social character and virtue of a child. Girls often had dolls with special clothes, that would prepare them for their later role as women who would be responsible for a household.

Jan Hendriksz. Verstraelen, Kinderspel bookillustration for Cats, Jacob. Houwelyck. Dat is de gansche gelegentheyt des echten staets. Middelburg: weduwe Jan Pietersz. van de Venne, 1625, Amsterdam, Rijksmuseum, inv. n° RP-P-OB-15.674

According to the caption, the doll’s goods in the foreground of the above print are not made of silver: Den Huysraet van dit poppegoet, Verheught der meyskens sacht gemoet. Al is het best maar loot of eerd Sij achten ’t al van grooter weerd (the household goods of these miniatures gives rejoice to the maidens with their kind character. Albeit made of lead, they consider it of great value).

In the lower class, toys were often simpler, made of lead, wood or soil, but it served an important goal: It offered children a moment of distraction of work, and, at the same time, a chance to develop social interaction and cooperation. A lot of toys were shared, which emphasized the importance of community and shared experiences.

The miniatures in the present cupboard, as well as the cabinet itself, will probably have been rarely used as toys. Also the rich upper class of the population it was not common to constantly play with silver miniatures. That play with silver toys is visible on certain paintings says more about the status that that they wanted to give to the sitter than about reality. The fact that the term poppegoet was used to define these items, probably had more to do with emphasizing that the piece was not made in full size, but was actually small.

The fascination for the small is of all time. Both in the past and now one could be amazed about something small that looks strikingly similar to an object we know on a large scale. Miniatures appeal to the imagination because they have the ability to show us a world in miniature, often with a lot of attention to detail. Moreover, these small utensils symbolize a certain stillness, an invitation to take a moment to reflect on the small and intimate. This collector’s cabinets fits well into the tradition of the 17th century, displays the richness of poppegoet that was manufactured at the time, a collection that shows the class of objects in miniature

Description of the miniatures:

• A beaker, engraved with the so-called ‘counted money’ motif, Dutch 17th century, 4 cm high.
• A small beaker, possibly by Boele Rijnhout, Amsterdam 17th century, 3,4 cm high.
• A children’s commodity chair, unmarked (Boele Rijnhout?), Dutch 17th century, 5,2 cm high.
• A circular wirework basket, with scrolling handles, unmarked, Dutch 17th century, 5,5 cm wide.
• A frying pan with openwork handle, unmarked, Dutch 17th century, 7,2 cm long
• A sewing cushion, Lodewijk Eylof, Amsterdam, 1653 – 1698, 6,1 cm wide
• A bobbin lace cushion, unmarked, Dutch 17th century, 4 cm long
• A bellows, by Boele Rijnhout, Amsterdam, 2nd half 17th century, 7,3 cm long
• A water well, maker’s mark a goat, Amsterdam 17th century, 8,9 cm high
• A diabolo-shaped salt cellar, Dutch 17th century
• A viola da gamba, the curl shaped as a female bust playing the violin, Dutch 17th century, 9 cm long
• A trumpet, Dutch 17th century, 6 cm long
• A rummer, Wike Doncker, Dokkum, 1640, 4,6 cm high
• A red stoneware silver mounted tea pot, Delft, late 17th century, 6,5 cm high
• A white-glazed silver mounted jug. Delft, 17th century, 7,8 cm high
• A serpentine silver mounted tankard, Michiel Maenbeeck, Amsterdam, 1655 – 1682, 5 cm high
• A ‘coconut’ cup engraved with a married couple and Bacchus, Dutch 17th century, 14 cm high
• A large and a smaller chair, Dutch 17th century, 6,8 and 4,7 cm high
• A pair candlesticks, by Boele Rijnhout, Amsterdam, 2nd half 17th century, 3,7 cm high
• A miniature flatbottom yacht, Dutch 17th century, 7.4 cm high
• A tortoiseshell bible box with silver mounts, maker’s mark unidentified, Dutch 17th century, 6,2 cm high
• A miniature book, Kern des Bybels in ’t Hage by A. de Groot en Zoonen, MDCCL (= 1750), 4,4 cm high
• Two baluster earthenware vases, Delft, the white star pottery, 1660-1704
• Two earthenware chinoiserie figurines, Delft, circa 1700, 6,4 cm high
• A portrait of a man, attr. to Gonzales Coques, Antwerp, (1614-1684), oil on copper, 9,2 cm high