Other one’s Feathers

OTHER ONE'S FEATHERS

A new painted ceiling and four "supraporte" or overdoor paintings, all for a Louis XVI Tea-pavilion, last remaining relic of two demolished 17th-century country estates and a menagerie portrayed by Hondecoeter. . .

Photography; Eddy Wenting.

Driemond - 1719
Driemond - 1719

The Dutch town of Driemond is a small village on the road from Amsterdam to Weesp, a meeting point of three small rivers, where two monumental country estates were built on opposite riverbanks in the mid 17th-century. Both houses, "Schoonoord” and “Driemond” were - as happened so often - demolished in the mid 1800's, leaving just an 18th-century gateway and an elegant tea pavilion remaining to be admired today on the premises of a much smaller neo-style villa built in 1875. In their heyday both these mansions were surrounded by extensive formal gardens, ornamental lakes, fountains and menageries, as we know from descriptions of visitors, inventories, some surviving floor plans and a set of engravings by Stoopendaal (1719). Most appealing to the imagination however, is a room-sized four-panel painting by Hondecoeter; “Birdpark with House Driemond” now permanently on display in the Rembrandt Room of the Alte Pinakothek Museum in München, Germany.

Melchior de Hondecoeter - Birdpark with House Driemond (1671/80) - Details <p>  Alte Pinakothek Museum - Munich.
Melchior de Hondecoeter - Birdpark with House Driemond (1671/80) - Details

Alte Pinakothek Museum - Munich.


Inspired by the zoo Louis XIV had ordered to be built at Versailles, menageries enjoyed great popularity all through the 17th- and 18th-century. Within the city of Amsterdam at least two could be visited, but at the numerous country estates outside the city walls menageries were regarded a standard garden accessory for the exceptionally well-to-do. Famous for its rich collection of animals from all over the world was the Menagerie of “Stadhouder“ Willem V at the palace in Voorburg.

The Driemond Tea pavilion has once, in the early 1800's been relocated a couple of hundred meters, away from its original spot at the riverside, thus becoming part of the menagerie of the original Schoonoord house. And since such ornamental garden dwellings - ironically - by their very nature tend to bear a resemblance to birdcages, the animals populating Dutch menageries in the 17th- and 18th-century seemed a fitting subject for a new ceiling painting in this historic pavilion.

The 18th century tea pavilion at Driemond.
The 18th century tea pavilion at Driemond.

A NEW CEILING

During the design process, a peacock taken from Abraham Busschop's grand 1708 painting about a Raven being robbed of the found and stolen feathers he has adorned himself with, kept popping up in many of the drawings and sketches. In the end we decided to accept its presence and included it as a quote in the final work, an example of what has been known for long as 'painterly appropriation'. Interestingly this borrowed bird by Busschop brought about a shift in the image’s meaning, making it fit into a long tradition of fable paintings. Ravens with stolen feathers, admonishing against showing off with wealth, achievements, properties or ideas that have been appropriated dishonestly.

The popularity of menageries and naturalia collections in the 17th- and 18th-century is linked to all sorts of phenomena, an increased or even fashonable public interest in science for instance. Special in this context however, is that on a more fundamental level it is precisely this what takes place in a menagerie; showing off with those who have been forcefully appropriated and confined.

\"Other ones Feathers\" 2020 - Detail - new painted ceiling for the 18th-century Driemond tea pavilion. <p>.
"Other ones Feathers" 2020 - Detail - new painted ceiling for the 18th-century Driemond tea pavilion.

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East- and West India company vessels used to take wild animals as an extra on their months long journey back home. Although the chances of survival were extremely low, there was an insatiable market waiting in Amsterdam.
The new ceiling shows us an array of birds known to have been present in 17th-century Holland. They have been grouped in roughly three clusters representing their place of origin in South East Asia (East India) and Latin America (West India).


Other One\'s Feathers 2020 - new painted ceiling for the 18th c. Driemond tea pavilion <p> Tempera, Acrylics and goldleaf on wood - diameter 280 cm
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Other One's Feathers 2020 - new painted ceiling for the 18th c. Driemond tea pavilion

Tempera, Acrylics and goldleaf on wood - diameter 280 cm

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The Driemond Tea pavilion at Schoonoord in 2020.<p>.
The Driemond Tea pavilion at Schoonoord in 2020.

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Other One\'s Feathers 2020 - <p>ceiling overview with floorboards - diameter 405 cm
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Other One's Feathers 2020 -

ceiling overview with floorboards - diameter 405 cm

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Other one’s Feathers

Other one’s Feathers

Toucan <p>.
Toucan

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Some Dutch sweetwater fish on the menu for a Brown Indian Fish owl. <p> a bird brought over on a VOC vessel, most likely from Sri Lanka ( Ceylon) <p>.
Some Dutch sweetwater fish on the menu for a Brown Indian Fish owl.

a bird brought over on a VOC vessel, most likely from Sri Lanka ( Ceylon)

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Driemond - 1719
Driemond - 1719

Paintings, panels and ceilings depicting domestic and exotic birds were in high demand. It seems the new owner who bought Driemond House in 1671 had a rich collection embellishing the walls of his Amsterdam canal palazzo and the Driemond estate, among them fifty works by Hondecoeter alone. Paintings like these were not just a colourful display of painterly virtuoso; these birds were seen as a reflection of the owners wealth and the international power of the Dutch republic.

The Dutch acquired and accumulated their wealth mostly by trade but often also by the violent brutalities that tend to come with naval and military dominance. Yet, where the Raven in the fables of Aesop and la Fontaine - main character of numerous Dutch bird paintings and ceilings - in the end received a beating for its dishonest behaviour towards the other birds, thus delivering its virtuous and admonishing message, in reality the display of Hollands accumulated wealth went mostly unchallenged.


The tea-pavilions interior with new paintings added above two of its windows and the entrance.<p>.
The tea-pavilions interior with new paintings added above two of its windows and the entrance.

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RAVENS HAVE ALSO BEEN ADDED TO THIS TEA PAVILION, ON A SET OF NEW SUPRA-PORTE PAINTINGS ABOVE THE WINDOWS AND THE DOOR.

In this setting they can show their acquired feathers undisturbed. Posing with great confidence, clearly outlined against an empty sky over a low horizon. (Raven, is Corvus in Latin. a word closely related to the painters family name, adding yet another personal note ).

Hondecoeter painted Driemond House and its exotic fowl against the background of an idealized Italian landscape. These ravens however, are set in a Dutch polder, with historic details appearing in the background, like set pieces on a theatre stage; the surviving 18th-century gateway of Schoonoord House, the tea pavilion itself and the facade of House Driemond as we know it from Stoopendaals engravings and the Hondecoeter painting. One of the paintings shows a windmill on the distant horizon, seemingly an ironic detail of an overexploited icon of Holland. It is the "Broekzijder" windmill, built along the Gein river in 1641 - and still there today – draining these lands, thereby enabling Driemond House to be built in the first place, and these ravens to keep dry feet.
A technical facility as a small detail far off in the distance, enabling the theatre in the front to take place.

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Other ones Feathers - Raven 2 -  2020 - \"Dessus de porte\" or \"Overdoor\" painting <p> Acrylics and tempera on Aluminum. <p>.
Other ones Feathers - Raven 2 - 2020 - "Dessus de porte" or "Overdoor" painting

Acrylics and tempera on Aluminum.

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Other ones Feathers - Raven 1 -  2020 - \"Sopraporte\" or \"Overdoor\" painting <p> Acrylics and tempera on Aluminum. <p>.
Other ones Feathers - Raven 1 - 2020 - "Sopraporte" or "Overdoor" painting

Acrylics and tempera on Aluminum.

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Other ones Feathers - Raven 4 -  2020 - \"Sopraporte\" or \"Overdoor\" painting <p> Acrylics and tempera on Aluminum. <p>.
Other ones Feathers - Raven 4 - 2020 - "Sopraporte" or "Overdoor" painting

Acrylics and tempera on Aluminum.

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Other ones Feathers - Raven 3 -  2020 - \"Supraporte\" or \"Overdoor\" painting <p> Acrylics and tempera on Aluminum. <p>.
Other ones Feathers - Raven 3 - 2020 - "Supraporte" or "Overdoor" painting

Acrylics and tempera on Aluminum.

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The impressive layout of the baroque gardens at House Schoonoord and Driemond in the mid 18th century. <p>.
The impressive layout of the baroque gardens at House Schoonoord and Driemond in the mid 18th century.

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Cassowary and peacock both from what once used to be called \"East India\" <p>.
Cassowary and peacock both from what once used to be called "East India"

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Three birds from Latin America;  Blue and Yellow Macaw, Toucan and a Black Curassow, <p>.
Three birds from Latin America; Blue and Yellow Macaw, Toucan and a Black Curassow,

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Sailing down. 
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The Pinnate leaves of a European Ash bring to mind the appropriated feathers in Aesop’s and la Fontaine’s raven fable. 
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Sailing down.

The Pinnate leaves of a European Ash bring to mind the appropriated feathers in Aesop’s and la Fontaine’s raven fable.

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Other One\'s Feathers 2020 - \"Dislocated\"<p> Study for a preview. <p> .<p>.
Other One's Feathers 2020 - "Dislocated"

Study for a preview.

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Driemond - 1719
Driemond - 1719

Driemond - 1719
Driemond - 1719

Driemond - 1719
Driemond - 1719

Driemond - 1719 <p>.
Driemond - 1719

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Photography; Eddy Wenting.