Nijsinghhuis

English translation

The text above is the record as published by the Rijksdienst voor het Cultureel Erfgoed, in Dutch. The English below is a machine translation made by TreeAlive, not by the Rijksdienst voor het Cultureel Erfgoed; it has not been checked by a person. Where the two differ, the original is the record. Report a translation error: privacy@treealive.com

Description

Introduction

Dwelling house, locally known as schultenhuis, Nijsinghhuis or Oud Gemeentehuis and, as evidenced by the date anchor 1654 on the southern chimney, presumably built in or around that year on the orders of schulte (schout) Johan Alting at the location of the old schultenhuis. In 1670 the house came into the possession of Jan Nysingh, who used it as a private dwelling. Around 1728 the front of the house was remodelled on the orders of Lucas Nysingh, on which occasion the house received its present front facade in a rather restrained Louis XIV style. The interior of the front house was also altered and acquired, among other things, the fireplace executed in a baroque Daniël Marot manner with mirror, two sculptured figures (Demeter and Lady Justitia) and a painted panel (the story of Vertumnus and Pomona). The carving is by the Groningen sculptor Jan de Rijk. In the 19th century the house was occupied for a long time by various mayors. During this period little changed to the building until it was purchased by the municipality of Eelde in 1893 and from 1896 the town hall was established in it. After losing that function in 1939, the house was used for various purposes, gradually falling into disrepair. In 1971 it comes into the possession of the married couple van Groeningen-Hazenberg, who have it thoroughly restored in 1972-1973. On the occasion of this restoration, among other things, the narrow cloister windows in the rear aisle were restored to their original state and the windows in the front aisle regained their early 18th-century glazing bars. From 1982 onwards, wall and ceiling paintings have been applied in various rooms. The former council chamber, the half-walls and the library bear paintings by Matthijs Röhling, who together with Wout Muller also painted the ceiling of the hall. Muller was also responsible for the paintings in a hall and a cabinet (the former scullery) in the rear house. One of the rooms at the front is furnished with paintings by Olga Wiese. Clary Mastenbroek provided the 'Marie-Antoinette room' with panel paintings. The painting in the coach house is by the hand of Pieter Pander. Although these wall and ceiling paintings to a large extent determine the character of the current interior, they cannot currently be protected by the national heritage authorities due to insufficient age. The house includes an adjoining, 18th-century coach house (which also receives protection) and a garden (laid out after the restoration of the house) with a partly organic, partly formal design based on a design from 1996 by Jorn Copijn. This garden likewise cannot currently be considered for national heritage protection due to insufficient age. Also dating from the nineteen-nineties of the previous century is the Museum voor figuratieve kunst De Buitenplaats, built in organic architecture, designed by Architectenbureau Alberts en Van Huut. This too is not currently protected by the national heritage authorities due to insufficient age. The iron gate on the street side, finally, is not original. For which reason this too is not protected by the national heritage authorities.

Description

HOUSE. Two-aisled transverse building on rectangular plan, built of red brick and covered by gabled roofs with blue-glazed Dutch tiles between stepped gables with diagonal buttressing and small sandstone shoulders; three ridge chimneys with board; fourth chimney on ridge of rear house; iron wall anchors (diagonal braces, ornamental anchors and date anchor 1654); on front side classicistic neck gable with sculptured sandstone wing pieces and triangular pediment with crest; moulded wooden entrance door with sidelights and Louis XIV carving in fanlight with lantern. On either side of the entrance bay two multi-light windows under chicken-head moulding. In the side facades cellar windows, multi-light windows, cloister windows with glass and shutters below and leaded glass above as well as rectangular windows with shutter (both under relieving arch and with sandstone lintels, mullions and sills) and, in the gable tops, small round openings set in moulded terracotta frames. In the rear facade door with fanlight and cloister windows as described above. INTERIOR. The interior still possesses a number of notable 17th- and 18th-century components. Among these a cellar composed of three parts, reached via a free open staircase; two parts with barrel-vaulted ceiling, the third with beam ceiling. The floors with glazed earthenware tiles. Hall paved with Oberwezer sandstone slabs; doors to library, former council chamber and rear house. In the rooms mainly wooden floors and, in the hall, wooden ceilings. In the former council chamber with wainscoting a fireplace in Daniël Marot manner with carving by Jan de Rijk and a painted panel depicting Vertumnus and Pomona. In the rear house important features include the kitchen with Oberwezer sandstone floor, tilework (plain white and decorative panels) and 19th-century copper taps and pump parts. Furthermore the drying room with bed wall, beams with key stones and fireplace with white-tiled back wall. The rear passage connects with a largely timber-lined space embellished with new paintings, which originally had the function of scullery. Adjoining COACH HOUSE, built of red brick and covered by a gabled roof between stepped gables with small spout gable; diagonal buttressing; rod anchors. In the facade on the street side double carriage doors, light arched and under chicken-head moulding; above it a stone tablet dated 1728; on either side a round-arched window with iron glazing bars; in the gable top a cast-iron grid window. In the side facade three grid windows as in front facade. In the rear facade a panel door with moulded panels and fanlight with cast-iron tracery window and two multi-light windows.

Valuation

DWELLING HOUSE of general importance by reason of its cultural-historical, architectural-historical and ensemble value. The house:

- has cultural-historical value as a particularly fine example of a 17th-century dwelling house with 18th-century alterations and a 20th-century restoration partly reconstructive in approach;

- is important by reason of its exceptional occupation and use history;

- is of architectural-historical importance by reason of the design and detailing characteristic of the various building periods and by reason of the use of materials;

- is of architectural-historical importance by reason of the coherence (in parts) between exterior and interior;

- has ensemble value as a characterising element of the village townscape;

- is furthermore important by reason of its recognisability and (after restoration) the high degree of integrity of the exterior and parts of the interior.