Bonebakker: Over two centuries of craftsmanship

Trial of the Pyx in the Guild’s Chamber. Adrianus Bonebakker is the man on the right.

Watercolour painting by Andries Graffelman, 1807

Portal to the future

In the days of Adrianus Bonebakker starting a trade was not for everyone. Only as ‘Poorter’ of the city one could become a member of a Guild and start a trade. This so-called Poorterrecht (the right to live and trade) was much sought-after.

On 15 June 1792, Adrianus Bonebakker procures this right and becomes a Poorter of the city of Amsterdam. That same day he appears before the dean of the high-counsel of the Amsterdam Guild for Gold and Silversmiths and asks permission to take the master exam to become a member of their Guild. His request is granted and for the mandatory exam, Bonebakker has to create several silver buckles. Four days later he shows his work and is accepted as a master in the Guild, at which time Atelier Bonebakker is established. It is the start of one of the most important jewellery brand names in Dutch history.

View on the Reguliersgracht where Bonebakker and Bennewitz establish their shop in 1802

A strong collaboration

In 1802 Adrianus Bonebakker decides to join forces with Dirk Lodewijk Bennewitz. Dirk is a highly talented master silversmith in the employ of the silversmith brothers Peirolet, who keep shop at Herengracht/Reguliersgracht (now the corner of Thorbeckeplein).

After both of the Peirolet brothers have passed away, the Peirolet widow decides to sell the Peirolet company, and Dirk Bennewitz and Adrianus Bonebakker seize the opportunity to buy it. Bennewitz stays on as the silversmith whereas Bonebakker becomes the trade director for their new enterprise Bonebakker & Bennewitz.

It doesn’t take long for their company to flourish and expand, their reputation continues to grow and soon they are the Netherland’s gold and silversmith shop to go to for custom-made orders for special occasions.

The Bonebakker family in the company of Dirk L. Bennewitz. The latter is holding a chestnut vase in his hand; next to him is the young Jacques Antoine Bonebakker. (Adriaan de Lelie, 1809, Rijksmuseum)

Marital portrait of Anna Pavlovna and William II (Jan Willem Pieneman, collection of the City Museum, Tilburg)

Sheer splendour

In 1816 William II, the eldest son of King William I, marries Anna Pavlovna of Russia, sister of Russian Tsar Alexander I and granddaughter of Catherine the Great. This marriage forges a strong alliance between the Oranges and the powerful Romanovs.

After the glorious wedding ceremony in Saint Petersburg, the newlyweds pay a visit to Amsterdam, where 8 days of festivities are organised in their honour. Bennewitz & Bonebakker receive the commission to create a silver dinner set of no less than 419 pieces, including an eye catching triumphal arch. An angel on top of this magnificent showpiece holds the marital crowns over the heads of the bride and groom, who are seated in a triumphal chariot.

Triumphal arch, showpiece of the 1816 silver table set, ebony, height: 78 cm, length: 64,5 cm,
Royal Collection, The Hague

For Dutch standards, the exuberance and splendour of this dinner set is excessive, but Anna, who is accustomed to the pomp of the Russian court, must have felt right at home. She, herself, brings boxes full of riches from Russia: fabrics, jewellery, furniture, trinkets and even the complete décor for a church. Nonetheless, she is still very much impressed by the table set with the triumphal arch and becomes a loyal customer of Bonebakker.

Portrait of Grand Duchess Anna Pavlovna by Nicaise De Keyser, 1850, Hermitage, St. Petersburg

In 1822 Jacques Antoine Bonebakker becomes co-owner of As Bonebakker & Son

Royal dinner set

In 1822 Adrianus appoints his son, Jacques Antoine, as co-director of the company. They settle in a shop on the corner of the Herengracht and Leidsestraat. Adrianus dies in 1824 and is succeeded by Jaques Antoine. In 1826, after the death of master silversmith Dirk Lodewijk Bennewitz, he becomes the sole director of the company that already has been renamed As Bonebakker & Zoon.

In the years following, As Bonebakker & Zoon engages silversmith Theodorus Gerardus Bentvelt (1782-1853). This reputable silversmith already has his atelier close by on the Herengracht and will remain in the service of Bonebakker & Zoon until his death. In the 1840s Bentvelt creates several objects for Bonebakker & Zoon, in both silver and gold.

Again in 1830, Bonebakker receives a royal commission. The city of Amsterdam places an order for a 94 piece silver dinner set for the wedding of princess Marianne, daughter and favourite of King William I, and Frederik Hendrik Albert, prince of Prussia. This set is excessively documented in Bonebakker’s archives and costs 18,837 guilders, an exuberant amount at the time. Also unusual at the time is that princess Marianne reciprocates the gift with a return gift of her own portrait to the city of Amsterdam. This painting is hung next to her father’s portrait in the city’s boardroom.

Honorary sabre with golden grip and feathered helmet.

The grip ends in a shield showing the citadel; the sabre’s blade is partially painted blue.

Swords and sabres

Bonebakker & Zoon does not only receive commissions for beautiful silverware, but also for the creation of special arms, such as the uncommonly beautiful honorary sabre for general Chassé. General Baron David Hendrik Chassé had the command of the Dutch Division during the Napoleonic wars, amongst which, in 1815, the battle of Waterloo. In 1831, he receives this gold Chassé sword, which is presented to him by his dignitary friends from his hometown of Tiel. The sword bears the master mark of silversmith Theodorus Gerardus Bentvelt.

The Belgian revolt also results in a number of commissions for gold and silver honorary sabres and swords, amongst which a golden sabre commissioned in 1831 by the prince of Orange.

Drawing of the view on Het Witte Paard, now Herengracht 376, Amsterdam

Het Witte Paard (The White Horse building)

In 1838 Jacques Antoine Bonebakker relocates his company and moves from the corner of Herengracht/Leidsestraat to a 18th-century canal house called Het Witte Paard (now Herengracht no. 376) to be even closer to his wealthy customers, who reside along the canals. The building is thoroughly renovated and redecorated in the luxurious Empire style.

This is a golden move as two years later Bonebakker receives the most important commission in his career.

During the time in which As Bonebakker & Zoon is located in Het Witte Paard many important clients find their way to his workshop. Amongst them is the widow Johanna Jacoba Borski, who continues her late husband’s banking business as Firma Weduwe W. Borski. She is a wealthy heiress and owns six mansions in Amsterdam and the Elswoud estate in Overveen.

But also Mrs. Six (who is married to wealthy art collector Lord Jan Six), Queen Anna Pavlovna, Willem van Loon (co-founder and commander of the VOC (East India Company)) and Johannes van den Bosch (Governor General of the Dutch Indies) are now amongst Bonebakker’s loyal customers. During this period the mayoral chains are crafted for the Mayors of Amsterdam and Leiden.

A new crown for the king

On 7 October 1840, King William I suddenly abdicates. The new king, William II, desires a new crown for his inauguration. The Netherlands are now separated from Belgium and King William II doesn’t want to use the crown that was used in Brussels by his predecessor. Besides, he’s married to a Russian princess and he wants the most spectacular inauguration ceremony the Netherlands has ever seen.

Portrait of King Willem II (1849, Nicolaas Pieneman, Hermitage, St. Petersburg)

A comment in Bonebakker’s archives states:
Delivered on the 27th November to HRH Willem II, King of the Netherlands, Prince of Orange Nassau, Grand Duke of Luxembourg etc., etc., etc,:
One large, heavily fire-guilt, silver Royal Crown, the edge encircled with, and set in solid gold, a diversity of coloured gems and pearls beneath eight rows of graduated pearls spreading over the blades and itself lined with a toque of red velvet. The crown was transported in a white Arabian walnut case lined with (purple) velvet.

Theodorus Gerardus Bentvelt creates the crown, which today is still used for inaugurations of kings and queens in The Netherlands. It was last used in 2013 for the inauguration of King Willem Alexander.

Note: In its present state the crown is different from the one in the original design drawing from 1840,
which can be admired in the Bonebakker Boutique of the Conservatorium Hotel in Amsterdam.

A change of course

Theodorus Gerardus Bentvelt, who had become one of the most important Dutch silversmiths of the first half of the 19th century, dies in 1853 and Jacques Antoine Bonebakker decides to set a new course for the company. He buys a property in the Korte Leidsedwarsstraat, employs able craftsmen and engages Pieter Pieterse as master silversmith. From then on, all pieces that leave the atelier bear, next to the Bonebakker mark, also Pieterse’s master mark. In 1854 the sons of Jacques Antoine, Willem Christiaan and Johannes Christiaan Reinier, become the third generation of directors in the company.

Artis – Westerman chalice

1 May 1838 had seen the founding of the society of Natura Artis Magistra (Nature as teacher of the arts). At its 25th anniversary, the members of Artis present the founder-director, dr. G. F. Westerman, with a chalice, measuring 50 cm in height. The gift is delivered by Bonebakker and is handcrafted by silversmith Pieter Pieterse.

This Artis or Westerman chalice from 1863 is a splendid illustration of the animal kingdom in all its aspects. The stand is in the shape of an oak tree and hiding within are a snake, a condor, and a parrot. The foot is decorated with an otter holding a fish in its mouth, a crocodile, a newt, a turtle, a crab and several shells. But the most elaborate decorations are situated on the goblet and consist of the expressive heads of a lion, a buffalo, and a rhinoceros. On top of the lid is a statue of Minerva, the goddess of study, who has one hand resting on a book that refers to the work of the French, natural scientist Georges Buffon.

This presentation drawing of a silver-framed nautilus shell is one of the many presentation drawings by As Bonebakker & Son in the Amsterdam archive

Showpieces

In 1870, the Bonebakker workshop designs and makes this showpiece from a nautilus shell. In the 17th century, nautilus shells were popular showpieces; They were often embellished with silver mounts and sometimes fitted with a lid so that they could also be used as drinking cups. That they were still popular in the 19th century is proven by this drawing from the Bonebakker archive of the city of Amsterdam.

Bonebakker Archives

The Bonebakker archives at the RKD (The Netherlands Institute for Art History) cover about 33 metres and are one of the internationally very important design archives in the field of silver and jewellery. The Bonebakker archive covers two centuries of art history and has been kept at the RKD since 2010. It was opened to the public in 2017. The unique 19th- and 20th-century images bear witness to all the areas in which the Bonebakker company has been active: from handmade to industrially manufactured utility silver and from promotional gifts to (royal) jewellery and occasional showpieces, such as a nautilus shell from 1870.

Printed advertising by the jeweller Bonebakker and Son, located at Herengracht 376, between Huidenstraat and Leidsegracht, with an image of medals won. Image: Atlas Dreesmann Collection, Amsterdam City Archives, 1875-1900

Belle Epoque necklace with diamonds, circa 1900. This platinum and white gold necklace bears the master sign of As Bonebakker & Son, decorated with swirling bows and ribbons, including pear shaped droplets with rose cut diamonds set in foil and a brooch pin, length ca. 39,5 cm

The beautiful era

The period between circa 1900 and the WW1, also known as the Belle Epoque, Fin de Siècle or ‘the beautiful era’ becomes a time that Bonebakker flourishes. In this period of great wealth, there is plenty of scope for science and art. The trend in art becomes very ornate and voluptuous, a style that can be seen in both architecture and jewellery.

Bonebakker adopts this fashionable trend by creating high quality, elegant jewellery. In the style of the Belle Epoque the jeweller adds different gems to his collection of gold, silver and diamonds. Jewellery made of gold and platinum are decorated with sapphires and emeralds. But Bonebakker also creates necklaces made from rare pearls. At jewellery exhibitions where silversmiths show off their abilities, the firm always wins gold, silver and honourable medals.

Broche/pendant in garland style with detachable parts, in platinum and gold,
fully set with rose cut diamonds and two pear-cut diamond pendants.

In this period the board of the Bonebakker company sees a lot of changes. Johan Christiaan Reinier, who dies in 1883, is succeeded by his son Willem Gerard. Willem Christiaan leaves the company in 1890 and is succeeded by his brother Carl. From 1891 Bonebakker is run by the two cousins who incorporate the adjacent building into the company.

In 1911 Carl Bonebakker quotes: ‘Our new building must keep a dignified distinction, shown in the exterior as well as the interior decoration. This will be best achieved by keeping everything in the Empire style. We must also maintain the air of a closed shop, however with clear signs of ongoing trade.’

Interior of Silver factory Bonebakker and Son; Tweede Weteringdwarsstraat 9-11 Amsterdam Image: Collection Oebele Boersma Stadsarchief Amsterdam, 1922-1923

Presentation drawing for a silver jardinière from 1925

Gifts and secrets

In 1925, Bonebakker receives the special commission to create a royal gift for the city of Amsterdam in honour of its 650-year anniversary and the opening of a new wing of the town hall. In the new workshop on Tweede Wetering Dwarsstraat, master smith Maarten Zwollo creates a 16-piece dinner set, which, amongst other things, contains fruit bowls, jardinières on a plateau, and candelabras. The total weight of silver is 74.48 kilos.

Then, in 1929, the big stock market crash also has an impact on Bonebakker and the company faces hard times that will last until after WWII.

In 1943 Carl Senior hands over the company’s management to his sons Carl and Adrianus. They decide to secure their entire stock and collection and sit out the war. The transport of the goods to a secure place is done in the greatest secrecy: the valuable silver is taken away by hand-pulled carts, covered by canvas. Another part of the silver stock is hidden in the cellar of the building of Het Witte Paard, behind a pile of rubble. Even though the Germans raid the place, they never discover the silver.

Interior Bonebakker silver factory 1924-1925 Image: Collection Oebele Boersma, Stadsarchief Amsterdam

Entrance to Bonebakker & Son, at Rokin 88-99, Amsterdam

Prestigious jeweller

After WWII Bonebakker relocates to Rokin 88-99, which is in the middle of Amsterdam’s shopping area. This building is more spacious and very prestigious, yet with the typical Bonebakker intimacy of a closed shop.

The post-war customer is prepared to pay a little more for an exclusive jewel or watch and it is decided that jewellery and watches of other renowned brands, such as Patek Philippe and Piaget, are added to the Bonebakker collection. The high quality of these brands matches the quality Bonebakker pursues.

The new location of the shop is also very attractive for international customers; the proximity of the Central Station and large hotels offer a great advantage in comparison to the previous location of Het Witte Paard, where clients could only visit after making an appointment.

Finally, Ferdinand Bonebakker takes over the helm of the company. He is the 6th generation of Bonebakker and under his management shops are opened in Hilversum, Rotterdam, The Hague and on the island of Curaçao.

Shop window of Bonebakker & Son at the Rokin in Amsterdam

Exhibition catalogue of the ‘Grand Silver of Bennewitz & Bonebakker’

exhibition in the Willet-Holthuysen Museum in Amsterdam

Museum quality

From 1 December 2006 up until 9 April 2007, the Willet-Holthuysen Museum in Amsterdam organizes an exhibition called Silverware 1800-1850, showing silverware from the shops of Diederik Lodewijk Bennewitz and Adrianus Bonebakker. The museum states on its website: ‘Amsterdam has always been the centre of the Dutch gold and silver craftsmanship. Amsterdam silverware from the first half of the 19th century was even considered the highest standard for all of the Netherlands. Numerous renowned silversmiths have created for Bennewitz & Bonebakker. The Exhibition shows a selection of silverware, such as tea sets, coffee and chocolate carafes, terrines, baskets, chestnut vases, candelabras, and ceremonial objects, such as honorary swords and prize chalices.’

More antique pieces by Bonebakker can be found in the permanent collections of prestigious museums like the Amsterdam Museum and the Rijksmuseum.
Bonebakker jewellery and silverware are also displayed during temporary exhibitions, like the one about King William II in the city of Dordrecht recently, as well as during the wonderful exhibition in Het Loo Royal Palace in 2013, the year of the inauguration of King Willem-Alexander.
Bonebakker pieces are also part of the Royal Collections.

Gold chalice with blue and white enamel from 1849,

this is one of the many pieces by As Bonebakker & Son

exhibited in the Rijksmuseum in Amsterdam

Jewellery Boutique in five star hotel

In 2012 Bonebakker opens a jewellery boutique in the new, five star, Conservatorium Hotel located near the Museumplein in Amsterdam. The elaborate heritage of the oldest jeweller of the Netherlands and excellent craftsmanship are combined in the Rijkspostspaarbank’s former director’s chambers.

Apart from its own successful jewellery collection, Bonebakker presents jewellery from a few other renowned European Maisons.

The central display is a true eye catcher in the Bonebakker boutique of the Conservatiorium Hotel

At the Grand Opening on 22 March 2012 of the boutique in the Conservatorium Hotel, the Dutch elite are invited as well as foreign dignitaries, celebrities and VIPs as dancers of the famous Scapino Ballet perform beautiful scenes from their show ‘Pearl’.

Gold ring set with aquamarine from the Key of Amsterdam Collection

Key of Amsterdam Collection

The way the eye of the key of Amsterdam was made and the fact that it was handed to Louis Napoleon in 1806 and later to the first King of Orange of the Netherlands, William I, serves as a source of inspiration for a jewellery collection exclusively made in the Bonebakker workshops. At the opening of the new jewellery boutique in the Conservatorium Hotel, the first pendant of this collection is offered to Jannie Iwema, the boutique’s new managing director.

The Key of Amsterdam Collection soon becomes the signature collection of Bonebakker. The key is a symbol of power and trust and consists of rings, earrings, bracelets, pendants and necklaces.

Silver cufflinks from the Key of Amsterdam Collection