Klein Engelenburg

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

The COUNTRY HOUSE, comprising two storeys and an attic storey, consists of a main volume on a rectangular plan with transversely placed, projecting wings on either side. On the right side elevation there is a single-storey outbuilding under a hipped roof, in which the former service rooms are accommodated. The main volume is covered by two gabled roofs separated by a valley gutter. The wings are covered with hipped roofs. The roofs are covered by interlocking, improved Dutch tiles and on each of the four corners of the roof covering there is a brick chimney with a smoke cap. Centrally in the rear gabled roof there is an octagonal bell tower with an open lantern and a multi-faceted tower spire crowned with a weather vane. In the roof slopes there are arched roof dormers in eighteenth-century style, with multi-pane casement windows within a frame of wooden claw brackets under a curved roof. The facades are built of red brickwork in English bond and predominantly have on the first storey 32-pane sash windows (4(4+4)) and on the second storey 24-pane sash windows (4(3+3)). The windows have a hardstone undersill and have white-painted profiled frames. The windows are fitted with black-painted venetian blinds. The facades are finished with a corniced, profiled brick gutter on a narrow frieze with dentil moulding. The central axis of the largely symmetrically arranged FRONT FACADE is emphasized by a composition consisting of the entrance and a balcony halfway up the storeys, surrounded by a composition of windows filled with leaded glass. The rather recessed entrance section has a black-painted double panel door. Entrance section and balcony possess a sandstone pilaster frame in block bond. On both sides of the entrance a facade stone is set in under standing, oval-shaped, six-pane tumbling windows. The left stone comes from the demolished house and bears the inscription 'Judith van Lennep Vrouwe van Engelenburg, den 27 aug. 1835'. The text of the right stone reads: 'Maria Elisabeth van Marle, Klein Engelenburg, den 21 aug. 1912'. The balcony rests on natural stone consoles and is surrounded by a cast-iron balustrade. The multi-pane balcony door has a multi-pane fanlight and a frame with casements. The door is flanked by narrow sash windows which, like the fanlight, have a geometric glazing bar arrangement around a standing oval and are filled with leaded glass. Above the balcony door is a sculpted stone in an arched field with the figurative representation of a festoon carried by little angels. On either side of this entrance section, as well as in both slightly projecting risalites, there are on the first and second storeys multi-pane windows as already described. In both the right and the left risalite there is also a black-painted service door, of which only the right one is original and above itself has two standing oval windows. The outbuilding on the right has two smaller 15-pane windows. The RIGHT SIDE ELEVATION has windows as described and furthermore some smaller multi-pane casement windows for the rooms of the service staff. In the rear and side elevation of the outbuilding there are various multi-pane windows as well as a side entrance with a multi-pane door under a multi-pane fanlight. The LEFT SIDE ELEVATION has five bays of which four are provided with the already known windows. The fourth bay is blank. Against this side elevation stands a non-original fire escape. The REAR ELEVATION has windows as already described and furthermore three garden doors; one centrally on the first storey and one in each inner side elevation of the risalites. The risalites project further forward here than at the front elevation. These ten-pane doors are provided with nine-pane fanlights and with a wooden frame with casements, on hardstone thresholds.

The layout of the INTERIOR has largely been maintained. Via a recessed entrance portal completely clad in marble, a monumental hall is entered which partially extends over two storeys and possesses a spaciously designed wooden staircase. The living rooms open onto this hall which in the original floor plans are designated by such terms as 'gentleman's room', 'billiard room' and 'salon'. Valuable elements from the original interior have been preserved, such as the marble cladding of floors and wainscoting, a large part of the interior doors and door frames and a tiled kitchen with wooden fireplace. The interior of the former living room has been altered only on secondary points and still possesses the wooden panel wainscoting, the original wooden ceiling with ornamented consoles and a fireplace executed in stone and wood. The leaded glass in the windows of the staircase is inspired by eighteenth-century Dutch windows and consists of family coats of arms within the oval glazing bars, surrounded by simple leaded glass in geometric patterns. The oval-shaped painting on canvas, which originally adorned the ceiling of the hall, has disappeared.

Appraisal

COUNTRY HOUSE 'Klein Engelenburg' (complex component A) built in 1912 after a design by FREEM and BREMER.

-Of architectural-historical value as an intact and good example of a country house from the early twentieth century built in circa 1800 style. The country house is notable for aesthetic qualities in interior and exterior such as the main form and detailing whereby connection is sought with the eighteenth century. Among the preserved interior components are marble floors and an almost completely equipped living room. Furthermore, the house is important because of the characteristic layout for that time, whereby various living rooms were grouped around a monumental hall. The country house is an early example of a country house within the oeuvre of architect Bremer, who at this time collaborated with Freem.

-Of urban-planning value because of its location within the country estate that occupies an important part of the western centre of Brummen. Important streets with nineteenth and twentieth-century villas and middle-class houses have been laid out around the grounds. The country house plays a defining visual role in this historically grown centre because of its size and fine appearance.

-Of cultural-historical value as an example of a country house built for a wealthy family at the beginning of the twentieth century. The house reflects in its outward appearance and the layout of its interior the living culture of this upper social class. Furthermore, the house is important because of the history associated with the country estate.