We know from eighteenth-century inventories that cutlery was often stored in boxes or cases. Sometimes these were simple versions in shagreen with copper mounts, but there were also luxurious variants decorated with Japanese lacquerwork or, like this magnificent pair, with marquetry and silver mounts. These elegant cutlery boxes are lined with rosewood veneer in open book pattern. The edges are inlaid with a band of alternating palm wood and ebony. There is ebony applied to the closing rim of the lid and to the lower part of the boxes. The interior is veneered with palm wood with green-coloured borders.
The Meerman Mollerus Cutlery Boxes
All the mounts and feet are made of silver, entirely in the Louis XVI style, decorated with garlands, rosettes and medallions. The boxes contain a beautiful and very rare set of eighteen large and eighteen small silver spoons and forks, all made in The Hague in 1794 by Martinus van Stapele. They are accompanied by a box with the same number of large and small knives from the same period, all engraved with the same coat of arms.
Coat of Arms
The alliance coat of arms on the couverts and knives are those of the advocate Johan Meerman (The Hague 1753- 1815) and Anna Cornelia Mollerus, who married in 1785. Johan’s full title was Mr Johan Meerman, Baron of the Holy Roman Empire, Comte de l’Empire, Lord of Dalem and Vuren.
Johan Meerman
Meerman was the son of Baron Gerard Meerman (1722- 1771), pensionary of Rotterdam, and the grandson of Johan Meerman (1687-1746), administrator of the Dutch East India Company. He inherited seigneuries from his father, making him Lord of Dalem and Vuren. His wife, Anna Cornelia Mollerus, was the sister of Johan Hendrik Mollerus, secretary of the Council of State from 1785 to 1795 and later several times a minister of the Kingdom of Holland.
Johan Meerman was a wealthy and well-travelled man, an erudite man of letters and a book collector. His career continued to rise under various regimes. Starting as a supporter of the House of Orange, he ended up as a senator in Napoleon’s Paris.
Comte de l'Empire
When the Kingdom of the Netherlands was annexed at the end of December 1810, Johan Meerman was one of the five Dutchmen appointed by Napoleon Bonaparte as members of the Conservative Senate of the Empire. The other members were Rutger Jan Schimmelpenninck, Philip Julius van Zuylen van Nijevelt, Frederik Gijsbert van Dedem and Jan Wolters van de Poll (the sixth, Jan Hendrik van Kinsbergen, did not accept the post). His brother-in- law Johan Hendrik Mollerus was a member of the Imperial Legislative Body during the same period. Johan Meerman was given the title of Comte de l’Empire (Count of the Empire) by Napoleon in 1812. After Napoleon’s abdication in 1814, Meerman returned to The Hague, where he died on 19 August 1815. He was buried in the Pieterskerk in Leiden.
Museum Meermanno-Westreenianum
Like his father, Johan was a keen book collector. An important part of this collection has been preserved and now forms the core of the collection of the Huis van het Boek museum in The Hague formerly known as Museum Meermanno-Westreenianum.
Dining Culture
As dining culture evolved in the Netherlands increasing numbers of objects were made to adorn the table and the demand for large sets of cutlery grew. These large sets of forks and spoons had been known since the last quarter of the seventeenth century, but dessert cutlery does not appear in the Netherlands until 1724. The pieces are smaller, and the forks have three, rather than four tines. Most of the surviving sets of spoons and forks date from the last quarter of the eighteenth century. One striking feature is that spoons and forks were not made by the silversmith who made the knife handles. Whereas spoons and forks were forged to create the required design, with or without the aid of a mould, silver knife handles were cast— a totally different technique. In Amsterdam a great many working silversmiths were able to specialize due to the huge demand for silver utensils in that city. There were silversmiths who made virtually nothing other than spoons and forks, and others who made knife handles. The blades of the knives were made by blade makers belonging to the blacksmiths’ guild.
Practical
Cutlery boxes were not only decorative additions to interiors, they were also very practical. It was a compact way of storing large quantities of silverware and when cutlery was stored in them it was possible to see at a glance whether any pieces were missing. The sets could also easily be transported to an owner’s country house.
Marquetry
Marquetry, a form of decorative inlay, flourished in 18th- century Dutch woodwork, showcasing an intricate blend of artistry and craftsmanship. The technique involves creating patterns by applying pieces of material, typically thin wood veneers, on a solid wood surface. The process began with a detailed design, which was then meticulously cut out from thin sheets of veneer. These pieces were carefully assembled on the furniture surface, adhering to the design’s intricate pattern. The veneers were then glued to the base wood and finished with polishing and varnishing, highlighting the natural beauty of the wood grains and colours.
The primary woods used included local oak, walnut and fruitwoods such as cherry and pear and exotic varieties such as ebony, rosewood, mahogany, tulipwood and sycamore, each chosen for its unique colour, grain, and texture. In addition to wood, marquetry often incorporated other materials like ivory, bone, mother-of-pearl, lacquerwork and various metals to further enhance the decorative effect. The designs during this period often included elaborate floral motifs, landscapes, musical instruments, shells and scenes from daily life. Dutch marquetry pieces were known for their complexity and the use of contrasting wood colours to create depth and visual interest.
Martinus van Stapele
From the 17th century onwards, The Hague was the political centre of the Dutch Republic and the location of the stadholder’s court. It also included the residences of the ambassadors of the countries with which the Republic maintained relations and was home to other wealthy officials, which made it a very cosmopolitan place. Silver was an ideal means for ambassadors to express their prestige and status and for presenting as gifts. In the eighteenth century, the increased prosperity meant that eating and drinking customs had become more extravagant. Silver candlesticks, cutlery, bread baskets and the like appeared on the dining table. The city played a leading role as a centre for silver. Around 1745 there were forty-eight silversmiths active in The Hague. Martinus van Stapele was the son of François van Stapele, one of the most eminent Hague silversmiths who received many commissions from court circles. Martinus was admitted to the Hague guild as a master in 1757 and worked as a master silversmith for at least fifty-five years. Martinus van Stapele died between 1803 and 1806 at the age of seventy-seven. His son Reynier van Stapele (active 1788- 95) was also an important silversmith.
Marks
Marked on the rear of the handles with the Hague assay mark, the Dutch lion, the date letter X for 1794, and the maker’s mark, a pot with three flowers underneath a crown for Martinus van Stapele.
