Douvenhaus

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The Douvenhaus on the corner of Kremerstraße and Altestadt in Düsseldorf was the home of court painter Jan Frans van Douven , built in 1713 . When a dud was detonated at the Rheinwerft in 1943, the building was damaged and later demolished. According to Boris Becker, the building was considered an example of the “early classicist” style in Düsseldorf. According to Paul Sültenfuß, it was "once one of the most elegant houses that the time of Johann Wilhelm gave to the city in 1713". Even Richard Klapheck leads to the building. It represents the former delicacy of the house that was not yet painted.

history

In 1632, the corner house was called "Jonker Schöller's House". In 1634 it was "completely knocked down" when the powder tower exploded. In 1645 the house belonged to Baron von Schöller, while the Douven couple signed a contract with the parish church in 1705 about drops falling. In 1713 Duke Jan Wellem had a two-story house built for his court painter Jan Frans van Douven at this point; a walled-in anchor still indicated the construction date. However, Douven had to sell it in 1740, heavily in debt. At the auction, the house came into the possession of the last bidder from the councilor of Cologne, Zumpütz, to whom it was sold for 3,050 Rheintaler. It then came into the possession of the von Lesque family. In 1816 the children of Gerhard vonlesenque sold it. According to Ferber , Peter Bornheim ran a brewery in the house after 1870, and Wilhelm Aschenbroich was his successor as owner and brewer. According to Rudi vom Endt, the successor "Goertze Karl" hosted the literary man Hermann Harry Schmitz and the Rosenkranzbruderschaft in the inn , which had moved out of their original local, the Rosenkranzchen in the Altestadt No. 1 building, at the beginning of the 1930s to convert it into a brewhouse .

Building description

Exterior

According to Sültenfuß, it was a simple, five-axis classicist brick building, on whose dark red brick surface the bright door and window frames stood out brightly. The clearly drawn large window frames and the common frame composition of the door and the window above with the segmental arch and the connecting middle piece showed a slight relief.

In 1916, Richard Klapheck described the house as follows: “The Douvenhaus opposite the Carmelite monastery church on the corner of Krämerstrasse breathes the same calm of Dutch classicism. It's just a shame that the building was plastered later. A few years ago you could at least still see the original condition on the side facade: the corners were ashlar, the plinth and the window frames made of house stone, the base otherwise made of sharply jointed layers of brick. The modern master whitewater, who made the window frames dark so that they would not disappear with their slight relief on the now light gray background, but completely misunderstood the actual joke of the characteristic facade structure. If he had to whitewash the brick surfaces, he would not have had to tint the corner blocks too dark, no, especially the pilasters of the intermediate piece above the door and under the window above on the upper floor. Best of all, he should have kept the whole intermediate piece dark. Because the attraction consisted in the fact that the cranked and only slightly protruding door frame with the particularly prominent central window, which was specially decorated with a flat gable, forms a comprehensive, uniform frame composition. [...] "

Interior

The house had a central corridor leading to the courtyard, which contained the two-flight staircase at the back; to either side was a room adorned with a rich stucco ceiling.

Art historical significance

Hans Vogts attributes the building to classicism:

"The pronounced classicism of this Düsseldorf architecture from the beginning of the 18th century is remarkable, which in any case depends on the Italian master builders at the court and, as in Holland and in Klevian, shows Palladio's influence."

Paul Sültenfuß describes it as Dutch classicism:

“Just as stately as the Grupellohaus, but a completely different image and a completely different origin. It speaks the same language as the chapel opposite and the adjacent monastery of the Carmelites, ie that of Dutch classicism. "

  • House "To the City of Rome" (left) and Douvenhaus (right)

  • Douvenhaus at the corner of Altestadt, Krämerstraße (early classicistic), portal detail

  • Douvenhaus, stucco decoration

  • House "Zur Stadt Rom" (left) and Douvenhaus (right), Wilhelm Schreuer , before 1933

  • "To the rosary", 1902

literature

  • Theo Lücker: The old town of Düsseldorf. As nobody knows. From the Ratinger Tor to short street. I. Volume. Verlag der Goethe-Buchhandlung, Düsseldorf 1984, No. 38. a) The Krämerstrasse. The Douvenhaus (pp. 162–164)

Individual evidence

  1. ↑ H. Herder; In: Historical walk through the old city of Düsseldorf ; Verlag C. Kraus, 1889. Part I, p. 12.
  2. ↑ http://www.duesseldorf.de/stadtarchiv/stadtgeschichte/gestern_heute/04_bilddokumentation.shtml
  3. ^ Boris Becker: Düsseldorf in early Photographien 1855–1914 , Schirmer / Mosel, Munich 1990. Plate 72
  4. ^ Paul Sültenfuß: The Düsseldorf house until the middle of the 19th century . (Diss. TH Aachen), 1922, pp. 68f
  5. ^ Richard Klapheck: The architecture on the Lower Rhine. 2 volumes, Art Association for the Rhineland and Westphalia, Düsseldorf 1915–1919, Volume II, p. 49.
  6. ^ Heinrich Ferber: Historical walk through the old city of Düsseldorf. C. Kraus, Düsseldorf 1889. Reprint: Triltsch, Düsseldorf 1980, p. 65 [Kremersraße]
  7. ^ Boris Becker: Düsseldorf in early Photographien 1855–1914 , Schirmer / Mosel, Munich 1990. Plate 72
  8. ^ Heinrich Ferber: Historical walk through the old city of Düsseldorf. C. Kraus, Düsseldorf 1889. Reprint: Triltsch, Düsseldorf 1980, I p. 66.
  9. ↑ Rudi vom Endt: Düsseldorf - As it was , Droste Verlag, Düsseldorf 1962, p. 15, ISBN 3-7700-0075-7
  10. ^ Richard Klapheck: The architecture on the Lower Rhine. , Art Association for the Rhineland and Westphalia, Düsseldorf, 1916 ( Douvenhaus digitally available as PDF )
  11. ^ Hans Vogts: Das Bürgerhaus in der Rheinprovinz , Düsseldorf 1929, p. 322 and p. 324 [illustration no. 362. Düsseldorf Sitftsplatz 6, portal from the house of the court painter van Dauven, 1713.]. (from the series: Association of German Architects and Engineering Associations (ed.): The community center in the German Empire and in its border areas , printing and publishing house L. Schwann in Düsseldorf).
  12. ↑ Hans Vogts: Das Bürgerhaus in der Rheinprovinz , Düsseldorf 1929, p. 324 [illustration no. 362. Düsseldorf Sitftsplatz 6, portal from the house of the court painter van Dauven, 1713.]. (from the series: Association of German Architects and Engineering Associations (ed.): The community center in the German Reich and in its border areas , printing and publishing house L.Schwann in Düsseldorf).
  13. ^ Paul Sültenfuß: The Düsseldorf house until the middle of the 19th century . (Diss. TH Aachen), 1922, pp. 68f

Remarks

  1. ↑ Alfons Houben states in his book " Düsseldorf How it was then - how it is today" (WI-Verlag, Düsseldorf, 1983, p. 177) that, in contrast to Rudi van Endt, the CdK Malkastenabspaltung not in the Douvenhaus, it met in the historical Rosenkranzchen from 1931–1933. At that time there was a megalomania café on the first floor , which was painted by members of the CdK. Since a café with this name was also mentioned in other sources when Altestadt No. 1 was sold to Schlösser in 1933, A. Houben is probably right.

Coordinates: 51 ° 13 ′ 41.8 ″  N , 6 ° 46 ′ 16.2 ″  E