Bottom left in plate: D. Marot del. et fecit. Etching and engraving, made in The Hague. 38 x 70 cm (plate), 60 x 93 cm (frame). Price € 495.
This print of the Trêveszaal, in the present age the place of the weekly gathering of the Dutch council of ministers, was first published in The Hague in 1697, on the occasion of the opening of the hall (in 1696); another copy is in the collection of the Rijksmuseum. As customary at that time, various reproductions of the print followed, the print of the room as such remained unchanged, but the textual explanation did alter. The copy we offer must have been issued at the beginning of the 18th century as a later edition. The print emphasizes the architecture and decorations of the hall, but the image and attribution of the members of the States-General and various foreign envoys also makes this print important in history.
The of origin French master builder Daniël Marot, who mainly worked from the Netherlands, designed the room on behalf of the States-General of the Seven United Provinces of the Netherlands. The Trêveszaal was put into operation in 1697. The members of the States General held their first meetings here. The Trêveszaal still has a prominent place in the Dutch government as the permanent meeting room of the Council of Ministers and is used for official receptions of foreign dignitaries.
The hall in Louis XIV style is the culmination of Daniel Marot's work. In France the Baroque had a more subdued classicistic character, but Marot developed a completely different and more exuberant interpretation in the Netherlands. The ceiling bears the theme 'the Union of the Seven Provinces' and was made by Theodorus van der Schuer. Each province is represented by a virgin, who carries the arms of the province. In the middle of the painting, the Dutch Virgin can be seen as a personification of the Union of the Provinces. The painted ceiling is carried by twelve caryatids. On the walls are paintings with portraits of stadholders and allegorical representations.
In this monumental print, Marot portrays his own architectural work with a great deal of attention to detail; yet it is still powerful. Unlike some of the other items that we have seen, this print is in perfect condition and completely free of any stains, discoloration and cracks.