Boschoord

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

Single-storey eclectic summer and winter villa with basement, raised central section and covered porch. Boschoord was built in 1871 as a villa for summer and winter residence commissioned by mayor Bernhard van Welderen baron Rengers (1868-1896), a first cousin of the owner of the surrounding estate jhr. F.J. J van Eysinga. Huize Boschoord served as a country house from 1896 to 1968, after which the house was again occupied permanently. The house underwent several alterations in the twentieth century. In 1910 the facade work was modernised, whereby the original plaster ornamentation was almost entirely removed to make way for brick ornamentation. A billiard room was also added to the north of the suite. Around 1968 the house was made suitable for permanent residence with modern amenities. Besides heating and electricity, the interiors were also modernised. The attics were fitted out with additional children's bedrooms and bathrooms; in order to provide extra daylight in the bedrooms, round windows were installed in the side walls of the central structure and additional roof windows; the billiard room became a kitchen with scullery and three rooms on the piano nobile were converted into a large salon.

Description

Exterior

The original building volume has an octagonal ground plan and comprises a basement, piano nobile and upper storey beneath a roof truss. VILLA BOSCHOORD is constructed in red brick in stretcher bond with cut jointing. The original plasterwork with rustication on the basement, except for a section below the dining room window, has been removed and probably renewed in 1910 with multicoloured brickwork. The masonry is almost entirely hidden behind ivy. The sloping roof surfaces are covered with a brown glazed flat Frisian tile. The flat central section of the roof is covered with bituminous roofing. All facades of the original building volume are symmetrical in composition. The eastern front facade has a raised central risalit, which is accentuated by a risalit-width covered double raised porch. During a renovation of the gable of Boschoord, the facade was rounded in an arch and rendered white, and the family coat of arms and scroll work of an eighteenth-century neck gable were applied. An iron facade crown was moved from the rear to the front. On either side of the central risalit a window in the straight and sloping wall surface. The western rear facade has the same basic facade composition as the eastern front facade. The rear entrance has a single raised porch, beneath which the stair to the service entrance in the basement. Above the rear door a balcony. The southern facade has a new window set in an original surround. Originally this was a partially blind window. The original alcove window the size of a basement window has been incorporated as an interior element in the basement.

To the north of the original building volume is an extension dating from 1910 for a billiard room. One of the three original windows on the north side was converted into a kitchen door with stairs. In the west facade the original ingle nook with a leaded window. In what was originally a blind west facade hidden by tall rafters, a window from 1931. A bell from 1653, originating from the Friesma State demolished in 1881, was placed on the roof in 1910. The bell house was renewed around 1970. This bell is not included in the survey work klokkenvordering 1942-3 by Van Nieuwenhoven, published by the Rijksdienst voor de Monumentenzorg. The text reads:

* IVRIEN BALTHASAR ME FECIT 1653 * SVVM CVIQ * C V ROORDA GRIETM VAN IDAERD

Interior

The ground plan of Boschoord is exceptional: the preserved octagonal structure of the outer walls is repeated in the staircase, leading to an octagonal landing on the upper storey with an octagonal fanlight. The interior of Boschoord contains very many original elements, partly because the original structure has been left largely undisturbed, with one or two exceptions. In particular the landing on the upper storey and the traditional central corridor of the piano nobile with the staircase are entirely in their original state, including the paintwork. In general all rooms in the house still have their original interior shutters.

The basement has lost its original function, but is structurally intact and contains many interior elements from the time of construction. In particular the former kitchen has a very authentic interior. It contains an original sink with taps for rainwater and groundwater, against the north wall an original chimney. The floor is laid with hardstone tomb slabs. The eastern wall consists of a cabinet wall dating from the time of construction, with the original paint layer from 1870, except for a few sections overpainted in blue. The other walls are tiled. The ceiling is still originally insulated with peat.

The piano nobile of Boschoord is exceptional in that unique elements have been introduced during a number of alterations. The central corridor is in completely original state, including the paintwork. The floor is laid with marble tiles. A single introduced element (1955) is an eighteenth-century small fountain. The reception suite to the right of the corridor still has the original panelling and stucco ceilings. The interiors of the original reception suite are harmonised with the ground plan structure of the house by means of a built-in sloping china cabinet in the former dining room at the front and a sloping closet accessible from the central corridor at the rear. The original fireplace from 1871 in the front room has a chimney piece inserted in 1931. At that time this room was in use as a salon. The original group portrait chimney piece is by Thérèse Schwartze (1851-1918). A portrait of a child by the new summer resident prof. Jhr. mr. W.J.M. van Eysinga. The dining room at the rear received a chimney in 1968 from the 1806 part of the former Eysingahuis in Leeuwarden, the Fries Museum. In the chimney a copy portrait (presumably the Frisian stadtholder Johan Willem Friso) brought in from elsewhere. From the dining room the billiard room is accessible via a former cabinet door in the panelling. This billiard room still retains the original panelling despite conversion to a kitchen and scullery. The original access via the front room is now used as a cabinet and shows the original dark colour scheme of the panelling.

On the other side of the corridor lies the large salon. This was created in 1968 by combining three rooms. The large salon has Régence panelling from the house Offem in Noordwijk, rebuilt in 1863 and 1953. Exceptional is the introduced chimney which was originally created around 1731 for a salon in the Princessehof in Leeuwarden by the court architect of princess Maria Louise van Hessen-Kassel, Anthonie Coulon (ca. 1682-1753). In the chimney a floral still life by Adrienne Jacqueline 's Jacob (1857-1920). The renewed window opposite the chimney offers a view of a parterre de broderie laid out in 1968 in the garden. The salon also offers a view to the rear (the former bedroom) of the original garden layout from 1871 with the garden pavilion on an artificial mound from 1871, and through the corner window a view through to the large pond laid out after 1968.

As regards the attic storey, particular mention should be made of the original octagonal landing and the two original master bedrooms.

Valuation

VILLA BOSCHOORD is of general interest and worthy of protection on the basis of

-the exceptional interior elements of national significance including the chimney by Anthonie Coulon and the chimney piece by Thérèse Schwartze;

-the unique octagonal structure of the ground plan;

-the integrity of the original interior and the cumulative quality of the historically developed interior;

-the cultural historical national significance, as a Frisian aristocratic villa in times of final flourishing and withdrawal to the countryside with the introduction of relics and panelling from estates, country houses and urban dwellings elsewhere;

-the landscape context: the location at a distinctive point in the Eysinga estate in time-bound connection with the brief revival of aristocratic country life at Sint Nicolaasga.