Dutch Delftware The Ivan B. Hart Collection by Masterart

Dutch Delftware The Ivan B. Hart Collection, Monte Carlo and other recent acquisitions

Robert D. Aronson Eveline Brouwers

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Cover illustration: Pair of Blue and White Pyramidal Flower Vases Delft, circa 1695 (no. 21, pp.36-37) Colophon ISBN/EAN: 978-94-90782-07-8 ISSN: 2212-6589 NUR: 655 Editor: Robert D. Aronson, Amsterdam Author: Eveline Brouwers, Amsterdam Copyeditor: Letitia Roberts, New York Photography: Diederik Faber Fotograﬁe, Kortenhoef Publisher: Aronson Publishers, Amsterdam Printed by DeckersSnoeck, Antwerp

Participants in The Winter Antiques Show, New York (January) The European Fine Art Fair (TEFAF), Maastricht (March) PAN Amsterdam, Amsterdam (November) Copyright © copyright 2013 Aronson Antiquairs of Amsterdam. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, photocopying, recording or otherwise, without prior written permission from Aronson Antiquairs of Amsterdam.

Foreword As becomes apparent from the cover, this year’s star attraction is an important collection of twenty-four eighteenth-century Dutch Delftware objects from the collection of Ivan B. Hart. Mr. Hart, who was born in Winschoten, the Netherlands, founded the Hart Wool Company in Amsterdam in 1929. With the vision of opportunities abroad, Mr. Hart moved his company to Boston, Massachusetts in 1938 and soon branched out to Australia and Argentina. But he never forgot his native country, and his collection of Delftware became a pleasurable reminder of one of its most triumphant arts. His son Herbert and daughter-in-law Hazel Hart from Monte Carlo eventually inherited and cherished the collection for many years. My grandfather Ab Aronson (1916-1990) knew Ivan B. Hart as a true patron of the arts. Art and antiques dealers often maintain a personal relationship with clientèle and their families, and it is not uncommon for dealers to know several generations of a family and to develop a true friendship over the decades. Dealer and client share an emotion, a passion, the love of and interest in a specific field or a type of object – or several; and the friendship deepens. This certainly has defined the long relationship between the Hart and Aronson families. The sixty-nine objects illustrated in this publication have varied provenances, however. The most eclectic of provenances are among the collection of fifteen Samuel van Eenhoorn marked objects. Purchased literally all over the world and over the time span of about a decade, it is wonderful to present so many marked pieces together in this publication and to be able to see the similarities – and differences – that occurred during the short seven-year period of Van Eenhoorn's ownership of De Grieksche A (The Greek A), one of the most creative and successful of all of the Delft factories. Other marvelous finds are the pair of massive balusterform vases and covers, the highly unusual rococo hot water kettle and of course the rectangular mirror frame. Also, although not among our usual offerings, I have decided to include an extremely rare set of four early Dutch majolica polychrome square tiles because of their historical significance. Aside from the good fortune of acquiring some wonderful objects, this past year: 2012-2013 has been one of interesting connections and developments. In Amsterdam I have not only been working on my own business, but as chairman of the Dutch antiques dealers association KVHOK and as EC member of TEFAF, I also immersed myself in Dutch tax laws. On the title page of this publication the new logos of both stand proudly next to each other. The executive committee of The European Fine Art Fair (TEFAF) embarked on a brave path a year and a half ago; a complete overhaul of

the TEFAF brand and the design of the fair. At the time this publication goes to press, I can still only dream of what the fair will look like. The new logo was revealed during a special exhibition in São Paulo, Brazil, in late October 2012. We were amongst 32 dealers invited to present TEFAF in the far corners of the globe. The KVHOK had a new logo designed to reflect the royal title that was bestowed by Her Majesty Beatrix the Queen of Holland. Looking back, it was only six months before her abdication. In the United States I welcomed the invitation to lecture at the Bruce Museum in Greenwich, Connecticut, where I spoke to 120 interested guests prior to the Winter Antiques Show in New York in January 2013, a show that witnessed a welcome resurgence in the art and antiques market in America. In the Netherlands I have been able to enter into a creative partnership with the Gemeentemuseum in The Hague, which is the second largest art museum in the Netherlands, and which is attracting increased attention while the Mauritshuis in The Hague is closed for refurbishment and the majority of their collection is being exhibited at the Gemeentemuseum. The affiliation will last for at least five years, during which the museum will produce several exhibitions focusing on the rarity, beauty and pivotal role of Delftware. It was a great honor to have been invited late last year to open the first of these exhibitions: ‘Het Wonder van Delfts Blauw: DelftWare, WonderWare’, and this semipermanent exhibition will run through at least mid 2014. In further museum news, 2013 will also mark the muchanticipated reopening of the Rijksmuseum in Amsterdam. The museum will exhibit the Delft objects from their extensive collection in both their period rooms (seventeenth and eighteenth century) and in a dedicated gallery for the more thorough study of the subject. With so much happening in, and attention being drawn to, the museums in the Netherlands currently, it is a particular privilege to be able to note that this year our collection of Delftware can compare admirably with some of the most distinguished museum collections in this country or around the world. All in all, it is the strongest collection to enter the market in many decades. I owe renewed thanks to Miss Letitia Roberts and to all my friends in and out of the curatorial world, with whom I can share the passion for Dutch Delftware. May I wish you great pleasure in looking at the objects in this publication, and I look forward to seeing you at TEFAF Maastricht, in the gallery or at any of our other venues throughout the year. Robert D. Aronson

The Craftsmanship of Delftware described by Paape and quoted from De Jonge 1770):

The craftsmanship of Delftware is undeniable, and while it achieved its pinnacle of production and popularity in the late seventeenth and eighteenth centuries, much knowledge of its early history and manufacturing techniques has vanished. It began as a direct descendant of the Italian maiolica of the Renaissance, whose techniques are recorded in Cipriano Picolpasso’s Li Tre Libri dell’Arte del Vasaio (1548). From Italy, potters migrating north through France brought to Antwerp in the sixteenth century and then to Holland the skills to perpetuate the Italian tin-glazed earthenware tradition in a slightly less refined but locally representative style. By 1600 Haarlem was the center of Dutch majolica manufacturing, and by 1650 the center had shifted to the city of Delft with a distinct refinement of style influenced by the importation of Chinese porcelain. Despite all efforts to reproduce this luxury ware, it was impossible for the Delft potters to achieve its distinctive translucency, lacking the knowledge of the essential “secret ingredient”: kaolin – the aluminum silicate white china clay responsible for the translucency that differentiates true hard-paste porcelain from pottery. The challenge to produce an increasingly convincing imitation of Chinese porcelain, however, led the Delft potters to develop improved firing techniques for a more highly refined tin-glazed earthenware or faience, in which they ultimately excelled and became Europe’s standard bearers.

The Preparation of the Clay Different types of clay “were first blended during the washing process, which simultaneously purified” it and “produced the ‘slip’ [liquid clay], which was then cleansed of impurities by filtering. The clean slip” was then put in a large basin to settle, “and when the residual water had been drained, was left to dry until it could be cut and placed in a damp cellar.... Further plasticity and homogeneity were achieved by an ‘aardetrapper’ (clay treader)” (pp. 11-12), who kneaded the clay with his feet. The Artistic Processes 1. Forming and the Initial Firing The creation of an object began with the ‘draaier’ (wheelturner) and/or the ‘vormer’ (former). Working on the potter’s wheel, the draaier threw “all of the round objects such as bowls and cups,” [which, after drying were] put on the wheel again for turning” (p. 12). The vormer made the objects that either “were not round, or were both round and fluted. These objects were made in specially prepared plaster moulds, as were such [elements] as spouts and handles...[which were] attached to the pieces with a thin, very plastic clay called ‘kles.’ The objects were then thoroughly dried before being fired for the first time” (p. 12) for 17 to 20 hours at temperatures ranging from 900° to 1000° C., and allowed to cool in the kiln for 40 to 60 hours to the ‘rauw goed’ or biscuit state. At that stage they were ready for glazing, decorating and a second firing.

What little is known about the initial technique of making Delftware is recorded in De Plateelbakker of Delftsch Aardewerk Maaker (The Delft Pottery Maker), a treatise written in 1794 by Gerrit Paape (1752-1803), the Dutch poet, journalist, and ultimately ministerial civil servant. From 1765 to 1779, however, Paape had worked in Delft as a ‘plateelschilder’ (a painter of earthenware and stoneware), where he must have gained considerable knowledge of the manufacture of Delftware from employment probably at De Klaauw (The Claw) Factory, given that his treatise is dedicated to Lambertus Sanderus, the owner of De Klaauw from 1763 to 1805. Although writing in the twilight of the Delft industry, it is likely that the techniques described by Paape had become traditional and in standard use by virtually all of the Delft factories during his employment there in the third quarter of the eighteenth century; and according to De Jonge 1970, pp. 11-13, where the author briefly transcribes the multifaceted Delft-making process from Paape’s treatise, it “has changed remarkably little” (p. 11) over the centuries.

2. Glazing To make the glaze, melted lead and tin were oxidized to tin-ash in a special kiln. On the floor of the same kiln “a compound of sand and salt or soda, known as ‘masticot’,” (p. 12) was fired; and then the masticot was fired again with a mixture of tin-ash, salt and soda or potash to form the ‘white’. The ‘white’ was then pulverized and ground between two stones in tubs of water until it became very fine. When applied to a piece and fired, the result was an opaque white glaze. “Another glaze, called ‘kwaart’ [lead glaze was] of similar composition but made without tin and therefore, transparent” (p. 12). Glazing a piece was achieved by ‘geeven’ (the dipping process), completely immersing it into a tub of ‘white’ and then removing it with two fingers of each hand, a process that could be “repeated until the desired thickness of glaze was obtained” (p. 12).

The Delftware factory was divided into different labor posts, each with its trained and dedicated employees, so that by specialization the individual work could be done with dependable quality and speed. Most factories produced both a high-end line of decorative objects and useful wares and a low-end selection of common utensils, which, ironically, are rarer today because they were used, worn out or damaged and then irreverently thrown away. What has survived today are generally the higher-end objects, in general more beautiful, always more loved, admired and cared for by generations of owners. Nevertheless, all of these objects were created from the same processes (as

3. Decoration After a piece was glazed, it was submitted to the ‘plateelschilder’ (pottery painter), whose talent and mastery of the craft was confirmed by membership in the Guild of St. Luke – a guild dating back to the fourteenth century, which required the membership of artists of all types, and which, in Delft, also included shopkeepers and dealers in works of art. The plateelschilder used special brushes “made of the fine hair from the ears of cows” (p. 12). While the plateelschilders could work freehand, the absorbent glaze prevented a line from being erased or changed. So to minimize mistakes, they

the ware was particularly well protected – something not always satisfactorily achieved [in a ‘grand feu’ kiln,] even with the use of [saggars]” (p. 13). The first such firings of Delftware, which occurred “toward the end of the seventeenth century when red-and-blue faience was fired at low temperatures in muffle kilns,” (p. 13) enabled the expansion of the Delft decorator’s possibilities from shades of cobalt-blue and manganese-purple to a full range of colors: the late seventeenth-century Japanese Imari palette of blue, iron-red and gold, and the Chinese famille verte palette of green, blue, iron-red, aubergine (manganese) and yellow; the aforementioned Chinese famille rose palette, which emerged just before 1725; and even the broader range of colored enamels developed by the European porcelain factories a decade earlier.

also used ‘sponsen’ (pricked paper stencils) from which the patterns were “transferred to the glaze by forcing powdered charcoal through the very fine holes. The patterns were then traced over with the ‘trekker’ [a brush with a long, thin point], and the details completed with a coarser brush called a ‘dieper’. Many of the pieces, which were already coated with tin glaze, were [sprayed with] a coat of kwaart after painting in order to heighten their gloss” (p. 12). The success of the decoration was visible only after the second firing “when the piece was removed from the kiln [and] the ‘white’ had melted and formed a thick enamel within which the blue or polychrome pattern had been tightly fused” (p. 13) and its full palette revealed. 4. The Second Firing: ‘Grand Feu’ “The second firing was decisive for the artistic quality of Delftware. According to Paape, the ‘plateelbakker’ (potter) proved his mastery of his craft at this stage by his technical control of the kiln, the stacking of the pieces and the heating” (pp. 12-13). In stacking plates and dishes, originally the pieces were separated by ‘proenen’ (tripod ‘stilts’), which left small ‘spur’ marks or blemishes when removed after the firing. “The solution to the problem was found in an old Italian technique in which the plates were placed in cylindrical kiln-proof saggars. Each plate rested on three small pins inserted through the saggars from the outside in fixed positions. The pins only left three small marks on the back of the rim. [Or, with respect to shaped pieces, they could be placed on the floor of the saggars, and the saggars stacked high in the kiln. The additional advantages of firing in saggars] were that the pieces were far less exposed to the dangers of falling soot and ash, [and within them] the temperature remained more even” (F.T. Scholten, Dutch Majolica & Delftware 1550-1700, The Edwin van Drecht Collection [Amsterdam 1993], pp. 20-21, who illustrates the saggar process, p. 21, fig. 5). “The kilns themselves...had several compartments of fireresistant stone and were about one meter [39 3/8 inches] high. Below the compartments was the firebox, [the heat and smoke being drawn through slits at the bottom, into the firing chambers and] through a vault into the chimney. A kiln was used at one and the same time for a variety of production phases” (De Jonge 1970, p. 13), each phase occupying its own particular position within the kiln, as determined by the heat patterns familiar to a practiced plateelbakker. But it was in the kiln – during both the heating and the cooling processes – that the majority of the successes or failures occurred.

Tradition Now, in the twenty-first century, only one of the original Delft factories, De Porceleyne Fles (The Porcelain Bottle), still manufactures products similar to the Delftware that by the eighteenth century had become so important to the economy and identity of Holland; and a second factory, Royal Tichelaar in Makkum manufactured according to the ancient process though they recently decided to stop their serial production and focus on contemporary design and architecture. But these factories operate with all of the advantages of modern techniques and technology: pugmills and other machinery to purify and prepare the clay; a greater variety of moulds, but a necessarily reduced variety of shapes; the process of transfer-printing to standardize and speed the decoration and to augment the slower and more expensive hand-painting; quicker glazing methods; and most significantly, electric kilns that can be regulated to specific temperatures in order to eliminate the plateelbakker’s guesswork and the disastrous results of a misfiring. It is to the credit of these two factories that they have kept alive the fondness for a product as much the symbol of a nation as the tulip, the windmill and wooden shoes – a product that for over two glorious centuries was the pride of Holland – and the extraordinary pieces that survive from that richly creative time, continue to preserve that pride today.

5. The Third Firing: ‘Petit Feu’ Certain colors in the Delftware palette could not withstand the heat of the kiln during the second firing. Red “tended to turn brown or to fail to adhere to the tin glaze” (p. 13); the delicate famille rose palette of pink, green, white and other pastel shades, was very vulnerable; and gold burned away if fired too high. “These problems were solved by low-temperature firing (at about 600° C.) in a specially constructed muffle kiln, a technique adopted...from that used by the Japanese for Imari porcelain. In this process

G. Paape, De Plateelbakker, Dordrecht 1794, pl. III

1. Set of Four Majolica Polychrome Square Tiles The Netherlands, circa 1590-1620 been painted by this same hand as the present tiles with a similar bust-length portrait of a bearded man wearing a ruff identical to that on the fourth tile in the present group. Another tile with a portrait virtually identical to that on the present example is illustrated by Dr. C. H. de Jonge, Nederlandse Tegels (Amsterdam 1971), pl. 8-f, described on p. 317 as from the Collection of J. W. N. van Achterbegh. Dr. Pieter Biesboer, Nederlandse Majolica 1550-1650, schotel en tegels (Amsterdam 1997), illustrates on p. 40, ill. 34, a tile, also painted by the same hand with a bust-length portrait of a lady wearing a ruff, which he dates to 1600-20, and which was found in Limmen, a town 26 km. (16 miles) north of Haarlem. Bisboer mentions a comparable portrait on a dish found in the city of Haarlem, illustrated in Dingeman Korf, Nederlandse Majolica (Haarlem 1981), p. 194, ill. 534. The geography of these discoveries suggests that tiles of this type were not necessarily made in one specific area, but rather could have been made in several tileproduction centers in the Netherlands.

Each painted in blue, green, yellow and brown within an ochre-edged diamond-shaped panel, one with a huntsman ‘driving the game’, holding a large pipe in his left hand, carrying a spear in his right hand and running on a grassy plateau; the second with a boar leaping before a flowering plant; the third with a unicorn leaping toward a low fence before a similar flowering plant; and the fourth with the bust-length portrait of gentleman wearing a broadbrimmed hat and a large ruff; each within blue and white palmet (foliate) corners. Square: 13.3 to 13.6 cm. (5 1/8 to 5 3/8 in.) Provenance: An English private collection Note: Decorative and utilitarian tiles, among the earliest productions in tin-glazed earthenware in the Netherlands, have become their own academic and collecting category, thanks largely to the efforts of Jan Pluis, currently the leading authority on the subject of Netherlandish tiles, whose contributions to the literature have advanced scholarship immeasureably on the subject. Although Aronson Antiquairs does not customarily handle tiles, which have developed a specialized market quite apart from the more mainstream field of Netherlandish majolica and Delft faience wares and figures, this group of four tiles is so interesting historically, that we have made a rare exception, and we wish to thank Kitty Laméris for her generous expertise and assistance in this regard.

Similar Examples: Majolica tiles of the same type and date, similarly decorated with portraits in diamonds are illustrated by De Jonge, op. cit., pl. 8-a to c, who also illustrates similar tiles with ‘animals in diamonds’ 13-a to c. Further similar ‘animals in diamonds’ tiles are illustrated by Bisboer 1997, pp. 164 and 165, nos. 194 and 195, which the author dates to 1610-30; by Ella Schaap, et al., Dutch Tiles in the Philadelphia Museum of Art (Philadelphia 1984), pp. 64-66, nos. 46-49; by Jan Pluis and Reinhard Stupperich, Mythologische voorstellingen op Nederlandse tegels (Leiden 2011), p. 187, F2, and p. 190, F 17; by Dingeman Korf, Tegels (Bussum 1961) opp. p. 71, pl. 1 (second row); and by Petra Claris, Een huis vol tegels (Amsterdam 1970), pp. 52-53, pls. 29 and 30.

Tiles of this type and date traditionally have been attributed to Rotterdam, but this group of four tiles, which appear to have been painted by one hand and fired simultaneously, suggest that the attribution must be broadened to “the Netherlands.” Jan Pluis, The Dutch Tile: Designs and Names 1570-1930 (Amsterdam 1998), illustrates on p. 345, ill. 10, a tile (A.02.01.03) which he dates circa 1590-1620 and which appears also to have

2. Blue and White Rectangular Plaque Delft, circa 1670-80 Painted in hues of soft blue with a gentleman wearing a plumed hat, holding a long rifle and conversing with a fashionable lady seated on a horse near a shepherdess seated on the ground at his feet, a dog by her right side, to the left a donkey observing a peasant or traveler seated beneath a tree and drinking from a jug, and to the right two fishermen hauling their nets before a distant cottage in a hilly landscape beneath voluminous clouds; the reverse unglazed.

Note: The source of this plaque is the print by Johannes Visscher (1633-after 1692) of ‘Riverbank with Fishermen Hauling in the Nets’ (fig. 1), which is the first in a series of four landscapes, the first state of which is dated 1670 (see F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700, Amsterdam 1949, etc., Vol. XLI [1992], p. 81, no. 113). Visscher made the print after a drawing in reverse by Nicolaes Berchem (1621/22-1683) dating to circa 1665-68 (Fitzwilliam Museum, Cambridge, inv. no. PD.142-1963, illustrated by Annemarie Stefes-Lincke, Nicolaes Pietersz. Berchem, 1620-1683 : die Zeichnungen, 1997, II, pp. 261-262, III, no. III/53). In her 1997 dissertation on Berchem drawings, p. 261 (II), Stefes-Lincke remarks that although the class difference between the elegant city gentry and the simple country folk in this print is evident, Berchem also attains an unobtrusive differentiation between the social strata of the two ladies, separating them only by footwear: the fine lady on horseback wearing elegant shoes in contrast to the bare feet of the seated shepherdess.

Size: 27.2 x 37 cm. (10 11/16 x 14 9/16 in.) Provenance: The Collection of Jhr. J.W. Six van Vromade, sold at auction by Niekerk and Schlüter, Amsterdam, October 18, 1932, lot 217, and according to the pencil annotation in the margin of the catalogue, acquired for fl 200,- by M. Huisman & Zn, Antiquairs, The Hague; A Czechoslovakian private collection, through 2008 Exhibited: Arnhem, the Gemeentemuseum (Historisch Museum, Arnhem), on loan before 1932, the dates unknown

Fig. 1 Johannes Visscher after Nicolaes Berchem, Riverbank with Fishermen Hauling in the Nets, engraving, dated 1670 25.8 x 35.7 cm. (10 3/16 x 14 1/8 in.) Inv. no. RP-P-OB-61.847. © Rijksmuseum, Amsterdam

3. Blue and White Rectangular Mirror Frame Delft, circa 1675-85 Molded in high relief at the top with a grotesque mask beneath a blossom and scrolls and above a basket flanked by female terms with foliate-scroll lower bodies issuing further scrolling foliage and blossoms trailing down the sides and also issuing from the cartouche at the center of the bottom formed by foliate scrolls and three blossoms and enclosing a head painted against a dotted ground, the frame’s raised inner edge with a foliate border, the outer edge colored in deep blue, and the top pierced below the mask with one later and two original holes for suspension; now mounted with a glass mirror plate.

is in the Municipal Museum, The Hague, illustrated by J. W. Frederiks, Dutch Silver, Embossed Ecclesiastical and Secular Plate from the Renaissance until the End of the Eighteenth Century (The Hague 1961), pls. 184186, no. 174. An English silver mirror, circa 1665, with some of the same decorative elements as the present Delft mirror, is illustrated by C. Oman, Caroline Silver (London 1970), pl. 80. The inspiration for the Delft mirror also could have come from a carved wood mirror frame, and an example in intricately carved and gilded lindenwood, circa 1675-1700 is in the Historical Museum Rotterdam, illustrated by Westermann 2001, pp. 42 and 205, o. 102, fig. 62.

Size: 38.6 x 31.4 cm. (15 3/16 x 12 3/8 in.) Similar examples: Three larger Dutch Delft rectangular mirror frames: an Imari example, 40 x 42.5 cm. (15 3/4 x 16 3/4 in.); a ‘Cashmire palette’ example, 47 x 42.5 cm. (18 1/2 x 16 3/4 in.), and a blue and white example 65 x 54 cm. (25 5/8 x 21 1/4 in.) are in the collection of the Rijksmuseum, Amsterdam. The latter, dated 1736 is illustrated in Van Dam 2004, p. 144, pl. 92; and Van Dam 1991, p. 79, no. 37, who on p. 78 suggests that “the form is probably derived from a mirror frame in silver, [and] may have been part of a toilet service.... Part of the decoration was molded in relief at the same time as the rest of the frame, which is very unusual for Delftware.” A silver-gilt toilet service of the aforementioned type, by Hermanus van Gulick, The Hague, dating from 1665-79, and including a mirror (68 x 44.7 cm. [26 3/4 x 17 5/8 in.]), a rectangular dressing case, two oval boxes, two flagons, two brushes and a tray,

A polychrome square plaque with central armorial decoration dated 1687 within a wide integral frame richly molded with flowers and scrolling foliage similar to the present example, is illustrated in Van Aken-Fehmers 1999, p. 241, no. 83; and in Van Aken-Fehmers 2012, p. 57, pl. 28 (upper right); and was sold at Mak van Waay in Amsterdam on May 21, 1968, lot 1756.

4. Blue and White Large Octagonal Triple-GourdShaped Vase Circa 1680-90 Unmarked but attributed to Lambertus Cleffius, the owner of De Metale Pot (The Metal Pot) Factory from 1679 to 1691 The upper baluster-form section painted with flowers, some within lappets and roundels, the central acornshaped section with two Oriental figures in a landscape, and the lower spherical section with two groups of horsemen or warriors beneath a floral lappet border around the shoulder. Height: 66.7 cm. (261/4 in.) Provenance: The Dr. G端nther Grethe Collection, Hamburg

De Grieksche A (The Greek A) Factory and Samuel van Eenhoorn In 1658 Wouter van Eenhoorn, who had co-founded the Drie Posteleyne Astonne (Three Porcelain Ash-Barrels) Factory in 1655, began pottery production next door in the former brewery known as ‘Griex A’ on the Geer near De Metaale Pot (The Metal Pot) Factory, creating what was to become a dynastic business and the most successful of all the early Delft factories. Although it is not certain whether Wouter used a mark on his products, he lost no time in establishing his factory’s reputation for superb craftsmanship, even referring to his wares as “porcelain.” It was for just such fine quality oriental imitations that De Grieksche A factory received a commission in 1667 from the city of Delft to make several “porcelain” pieces for the wife of the Swedish ambassador “extraordinaris” in Holland.

support her own striving delftware industry. Although the embargo was never lifted officially, it was ignored for the major royal and noble commissions, so was rendered largely ineffective, and the trade with England continued and prospered.

The factory’s early and continuing success was in large part the result of Wouter van Eenhoorn’s international contacts, which extended from Amsterdam to London, Hamburg and Bordeaux. By the end of the 1650s, he had already transacted business in France through the merchant brothers Claude and François Révérend, who ten years later were in arrears to De Grieksche A, causing Wouter to enlist the help of his brother-in-law Willem Cleffius of De Metaale Pot in an attempt to effect payment. In 1674 Wouter installed his son Samuel (16551685), who had just been admitted to the Guild of Saint Luke, as his shopkeeper, in charge of the foreign orders, and the records indicate that within a year De Grieksche A had established a contact in Rouen, the bustling center of France’s faience industry.

Upon the death of Samuel van Eenhoorn in 1685, his widow Cécilia Houwaert inherited the business and ran it for a year before selling the factory and its accoutrements to her brother-in-law Adrianus Kocx (who had married Samuel’s sister Judith) – a sale for which the arbiter was Lambertus Cleffius, her husband’s first cousin and the owner of De Metaale Pot. Kocx, the master potter and merchant, who was admitted to the Guild of Saint Luke as a shopkeeper in 1687, must have considered Lambertus Cleffius more of a cousin and friend than a rival, because together they negotiated to enlarge their French market by putting under contract two Parisian agents who were permitted to sell only the products of De Grieksche A and De Metaale Pot with the proviso that the Parisians had the first choice of the merchandise, and Kocx and Cleffius could not deal with any other merchants within 30 miles (48.28 km.) of Paris. By 1693 this arrangement had been dissolved, but both factories continued to thrive, De Grieksche A enjoying the patronage of the most important clientèle, including the King-Stadhouder William III of Orange and Queen Mary II, to whom vases and other ornamental wares decorated with the royal cipher were delivered, many of them intended for use at the royal residence of Hampton Court Palace in Richmond-uponThames..

Shortly before his death in 1678, Wouter gave De Grieksche A to Samuel as a wedding present. The inventory lists of Wouter’s estate made in 1679 hint at his financial success: among his 47 paintings were still lifes, seascapes and two portraits of Wouter and his wife Christina Lambrechtsdr. Cruyck (b. 1619), the older sister of the wife of Willem Cleffius of De Metaale Pot; in the dining area the chimneypiece was ornamented with seven large Delft chargers, and there were twelve walnut chairs around the long table. Wouter’s estate also included his coownership of the Drie Posteleyne Astonne Factory, but his heirs chose not take their shares of this business, deciding instead to turn it over to Wouter’s partner, Gerrit Pietersz. Kam.

In 1701, just prior to his death that year, Adrianus Kocx gave a festive dinner for the entire staff of De Grieksche A to celebrate his transfer of the factory to his son Pieter Adriaansz. Kocx. Only two years later in 1703 Pieter died and his widow Johanna van der Heul took over the business, paying homage to her husband by continuing to use his mark PAK on her highest quality products. A qualified potter and a thoroughly competent manager, who surrounded herself with talented employees, by 1713 Johanna had in her employ four “gold painters” whose contracts gave her the exclusive rights to their work as long as she owned the factory. It is with the most important, if eccentric, of these “gold painters,” Ary [or Adriaa(e)n] van Rijsselberg(h), that the mark AR is generally associated.

Samuel van Eenhoorn ran De Grieksche A Factory by himself for seven prosperous years, during which he is known to have enjoyed the patronage of the House of Orange, as evidenced by archaeological excavations at Het Loo Palace in Apeldoorn, which have unearthed garden ornaments and tulip vases marked SVE. Technologically, he improved and refined the wares of the factory, and to the limited palette of cobalt-blue in various shades he introduced manganese-purple, which initially was used effectively to outline and define the decoration. He also supplied an important voice for the Delft master potters and shop-owners as a member of the three-man delegation (with Lambertus Cleffius of De Metaale Pot and Quirijn Aldersz. Kleijnoven [or van Cleijnhoven] of De Porceleyne Fles [The Porcelain Bottle] Factory) dispatched to England in 1684 to protest and effect a rescission of the 1672 embargo on the importation of Dutch Delftware, which England had placed in order to

After two highly productive decades, Johanna sold the factory in 1722 to Jacob van der Kool, the grandson of Jacob van der Kool who had owned De Drie Porceleyne Flessies (The Three Porcelain Bottles) Factory, and De Grieksche A continued to prosper under Jacob’s ownership and the subsequent management of his son-inlaw Jan Teunis Dextra (1758-64), by whom it was sold to Jacobus Adriaansz. Halder (1764-68), and then to Jan van den Briel (1768-83), when the products experienced a noticeable decline. After van den Briel’s death, his widow van den Briel-van der Laan operated the factory for a decade before selling it in 1794 to Pieter Jansz. van Marksveld, who ran it for another decade until his death in 1804, when it was run for another seven years before she closed the factory in 1811. References: Van Aken-Fehmers 1999, pp. 65-69; Havard 1909, Vol. II, pp. 132 and 236; De Jonge 1947, pp. 303 and 368; and De Jonge 1960, pp. 43-49.

5. Blue and White Octafoil Dish Delft, circa 1680-85 Marked SVE in blue for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685 Painted in the center with a Chinese lady holding a longstemmed flower and being followed by an attendant carrying a tall fan and walking near a vase of flowers on a table beneath a pine tree and amidst rocks and shrubbery, the cavetto and rim with four figural vignettes depicting at the top two seated men conversing near a fence, at the bottom a man seated on a bench before a fence, and at the sides either a man bearing a dish of fruit or a lady standing beneath a pine tree, all within a blue scalloped and barbed edge, the underside with four concentric blue lines, and the footrim pierced with a hole for suspension. Diameter: 25.7 cm. (10 1/8 in.) 15

6. Pair of Blue and White Chinoiserie Plates Delft, circa 1680-85

7. Blue and Manganese Baluster-Form Vase and Cover Delft, circa 1680-85

Marked SVE in blue for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685

Marked SVE 12 in manganese for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685

Each painted in the center with a Chinese man holding a fan and standing beneath a pine tree in a fenced garden within concentric lines, the wide rim painted with five figures seated near small fences, rocks and shrubbery within four similar vignettes.

Painted on the front with two chinoiserie figures strolling before their blackamoor servant carrying a fan near prunus growing from a rock, bamboo and other shrubbery, and on the reverse with two men seated before a distant pavilion, one holding a fan, the other a goblet, the lower body with a border of four oval panels depicting figures in river landscapes alternating with beribboned foliate motifs above a band of stiff leaves, the shoulder with a border of blue-ground blossom-andscrollwork lappets, and the cover with a bell-shaped knop encircled by a border of six floral lappets above a band of petal devices on the rim.

Diameter: 25.1 cm. (9 7/8 in.)

Height: 29.8 cm. (11 3/4 in.)

8. Blue and White Plate Delft, circa 1680-85

9. Blue and Manganese Plate Delft, circa 1680-85

Marked 7 SVE in blue for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685

Marked SVE in manganese for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685

Painted in the center with two Oriental figures seated in a garden, and on the rim with three seated figures alternating with a version of ‘The Three Friends of Winter’: a stylized flowering plant, a pine tree and bamboo.

Similarly decorated to the preceding plate, but the center painted with a dignitary and his attendant. Diameter: 21,7 cm. (8 1/2 in.) Provenance: The Dr. Günther Grethe Collection, Hamburg

Diameter: 22.3 cm. (8 3/4 in.) Provenance: The Dr. Günther Grethe Collection, Hamburg

10. Blue and White Octagonal Bottle Vase Delft, circa 1680-85 Marked SVE 2 1/2 in manganese for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685 Painted with two chinoiserie figures seated amidst rocks, bamboo and other shrubbery in a fenced garden, the reverse with a man elaborately dressed and carrying a spear before a distant pagoda, and the lower body with a narrow border of petal devices. Height: 19 cm. (7 1/2 in.)

11. Pair of Blue and White Octagonal Bottle Vases Delft, circa 1680-85 Marked SVE 30 in blue for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685 Each painted on the tall neck and body with birds flitting amidst and perched on two or three groups of flowering peonies, prunus or lotus, the shoulder with a floral lappet border, and the knopped neck with a flowering vine border beneath the slightly scalloped rim. Heights: 47.3 and 47.6 cm. (18 5/8 and 18 3/4 in.) Provenance: The Dr. G端nther Grethe Collection, Hamburg

12. Blue and Manganese Octagonal Bottle Vase Delft, circa 1680-85 Marked SVE 4 in blue for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685 The spherical body painted on the front with two Oriental figures seated beneath a pine tree near bamboo growing behind a pierced rock in a fenced garden, and on the reverse with two figures standing and conversing, the shoulder with a floral and foliate scroll border beneath two tall leafy floral sprigs on the flaring neck. Height: 22.8 cm. (9 in.) Provenance: The Jaap van der Eyk Collection, Bennekom

13. Blue and White Ovoid Vase Delft, circa 1680-85 Marked SVE 2 / in manganese on the predominantly unglazed base for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685 The slightly campaniform lower body painted with a bird walking through grasses amidst flowering branches, and with another bird flying toward a third perched on a rock, the mid section with a convex-molded herringbone and cloud-patterned band beneath a border of scrolls and strapwork, the shoulder with a demi-ruyi-head border, the flaring cylindrical neck with two stylized flowering plants alternating with rows of dots, and the flaring circular foot with a border of stiff leaves and darts. Height: 19 cm. (7 1/2 in.) Provenance: A Dutch private collection, Eindhoven

15. Blue and Manganese Octagonal Rouleau Vase Delft, circa 1680-85

14. Blue and White Fan-Shaped Rijsttafel Dish Delft, circa 1680-85 Marked SVE in blue for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685

Marked SVE 18 in blue for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685

Painted with a Chinese man bearing a banner and approaching a lady holding a fan near a garden fence within a border of floral-patterned lappets and a fretpatterned ruyi head.

Painted with four Oriental figures seated and drinking tea at a low table between pairs of standing figures and an attendant with a parasol, the flaring rim with a foliatescroll border and the lower body with a border of four landscape roundels alternating with floral and foliate motifs above stiff leaves.

Length: 30.4 cm. (12 in.) Provenance: The Dr. G端nther Grethe Collection, Hamburg

Height: 41.2 cm. (16 3/16 in.) Provenance: The Dr. G端nther Grethe Collection, Hamburg

16. Blue and White Geometrical Bottle Vase Delft, circa 1680-85 Marked 4 SVE 13 / in blue for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685 The body formed as a twelve-sided cube comprised of four upper hexagonal panels, each painted with a different Chinese flowering branch or plant, four lower hexagonal panels painted either with a pair of ducks flying toward or standing beside a flowering tree peony, or a songbird flying toward a flowering rose bush growing beside a rock, and between them four blue-ground square panels reserved with peony blossoms and scrolls, the tall cylindrical neck with a floral lappet border around the flaring rim, and painted around the middle with a songbird flitting amidst lotus and peonies between a ruyihead-bordered knop and a flowering vine-bordered knop above a further ruyi-head border repeated around the ankle above a peony-vine border on the low domed foot, its edge with a dentil-patterned band.

Similar examples; An SVE-marked bottle with the same geometric body similarly decorated, but with a simpler and shorter single-knopped neck, is in the Museum Boijmans van Beuningen, Rotterdam, illustrated in Lunsingh Scheurleer 1775, ill. 71; and in Lunsingh Scheurleer 1984, p. 249, no. 185. An SVE-marked bottle vase in which the four upper hexagonal panels extend upwards to form a tapering square neck, is illustrated in Aronson 2004, p. 53, no. 54; and a pair of that model, marked AK for Adrianus Kocx of De Grieksche A (The Greek A) Factory, is illustrated in Van Aken-Fehmers 2001, p. 101, no. 11; and in Van Aken-Fehmers 2012, p. 74, pl. 37 (lower left) A chinoiserie wig stand with the same geometric panel formation, unmarked but attributed to Adrianus Kocx of De Grieksche A (The Greek A) Factory, is illustrated by J. Helbig, Nederlands Plateel +/-1640 tot +/-1800, Plaket Nยบ 2 (Luik, no date), pl. 6.

Height: 32.3 cm. (13 1/8 in.) Literature: Robert J. Charleston (Editor), World Ceramics, an illustrated history, London 1968, p. 166, pl. 460 (with an erroneous caption); Marion van Aken-Fehmers, et al, Delfts Aardewerk, Geschiedenis van een national product, Volume I, Zwolle/Den Haag (Gemeentemuseum), 1999, p.101, no. 11, note 1

17. Pair of Blue and White Vases with Beast-and-Ring Handles Delft, circa 1680-85 Marked SVE 4 in blue for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685 1620-40, were present in the Netherlands in the seventeenth century; see Jaspers, op. cit., pp. 2-16, and p. 10, ill. 10a-b, which includes one vase 17 cm. (6 11/16 in.) high and one in fragments. These Nevers designs, themselves were inspired by sixteenth- and seventeenthcentury Italian prototypes, which Jaspers, op. cit., pp. 3 and 8, and Lahaussois, op. cit., pp. 68-70, suggest were most likely influenced by Ligurian maiolica and/or metal examples and not the Faenza maiolica wares generally mentioned as a source. A 1666-dated Savona apothecary jar of this shape, 50 cm. (19 3/4 in.) high, is illustrated in A. Faÿ-Hallé and C. Lahaussois (editors), La Faïence Européenne au XVIIe Siècle. Le Triomphe de Delft (Paris 2003), pp. 36 and 187, cat. 12; and three other Savona examples were sold at Sotheby’s in Amsterdam on September 25, 2001, lots 88 and 102.

Each ovoid body painted with a continuous scene of Chinese figures amidst rocks, pines and other shrubbery, depicting on the front an attendant holding a large fan and standing between two seated dignitaries, and on the reverse two men seated on the ground and conversing over a low table, the shoulders with tall animal-head handles suspending rings from their mouths above the humanmask terminals, the flaring cylindrical neck encircled with a molded ‘chain’ border beneath the everted rim, its upper edge with a border of double scrolls and circlets, and the domed foot with a ruyi-head and scroll border beneath a modified ‘chain’ band around the ankle. Height: 27 cm. (10 5/8 in.) Note: The shape of these so-called 'altar vases' was almost certainly derived from French faience examples. In Nevers, vases of similar shape, sometimes referred to as 'vases à chimères', but with sparser decoration in the compendiario palette (blue, yellow and orange) and style were produced in the first half of the seventeenth century. A Nevers vase decorated with colored garlands and putti, 22 cm. (8 11/16 in.) high, in the Palais des Beaux Arts, Lille, is illustrated in the Catalogue des Céramiques du Palais des Beaux-Arts de Lille (s.l. 2008), p. 152; and a pair of this type, 22 cm. (8 11/16 in.) high, was sold at Christie’s in Amsterdam on November 11, 2003, lot 163. An example with the monogram IHS (discussed below), circa 1640-60, 25 cm. (9 7/8 in.) high, in the Musée national de Céramique, Sèvres, is illustrated by C. Lahaussois, "The French rose of Provins and the tulip of the Netherlands, Seventeenth-century faience flower vases from Nevers", in Van Aken-Fehmers 2007, pp. 65-75, ill. 2 on p. 68; and another, 22 cm. (8 11/16 in.) high, in the Musée des Beaux-arts et d’Archéologie J. Déchelette, Roanne, is illustrated in J.M. Baart, Italiaanse Grotesken en Crabben in Haarlem, Het atelier van Willem Jansz. Verstraeten (Haarlem 2008), p. 230, no. C 27. See also N. L. Jaspers, "Met de Franse slag, Franse compendiario faïence uit Nederlandse bodem (ca. 1600-1660)", in Vormen uit Vuur, (2007) 199, pp. 2-16

The shape is known also in French silver. From the middle and third quarter of the seventeenth-century, silver vases with animal handles were made after prints by artists such as Jacques Stella (1596-1657) and Jean Marot (1609/29-1679), in turn after Italian metal examples; see J. Pijzel-Dommisse, "Buires, gueridons en cassoletten: 'Frans' zilver in het interieur van stadhouder Willem III", in R.J. Baarsen, A. Ouwekerk (editor), Het Nederlandse binnenhuis gaat zich te buiten, internationale invloeden op de Nederlandse wooncultuur (Leiden 2007, Leids kunsthistorisch jaarboek 14), pp. 104-109, ills. 9-12. A pair of Dutch silver vases of this type, with the arms of Hans Willem Bentinck, made in The Hague by Adam Loofs, the court silversmith of William III (1650-1702), probably in 1693, is illustrated ibid., p. 104, ill. 9. But given that the Delft vases do not have covers, nor do they have the garlands and gadrooning often found on the silver examples, it is more likely that they emulated the faience, rather than the silver models. With respect to their function, Christine Lahaussois in Van Aken-Fehmers 2007, p. 67, has suggested that the Nevers 'vases à chimères' had an ecclesiastical purpose as flower vases on an altar. This is supported by the existence of faience vases of this shape, with either grotesque or scroll handles, which are sparsely decorated in blue and white or in colors with the IHS Christogram or a portrait of Saint Peter, examples of which are cited in the second paragraph of this note. Two other vases

Archeologist Nina Jaspers has discovered that similarly shaped vases applied with colored garlands and putti, produced by Les Trois Mores Factory in Nevers, circa

include a pair 26 cm. (10 1/4 in.) high, illustrated in Aronson 2004, p. 28, no. 26; and one, 23 cm. (9 1/16 in.) high, sold at Christie’s in Amsterdam on May 30, 2001, lot 438. However, another similar pair, around 27 cm. (10 5/8 in.) high, in the Musée de l’Hôtel Sandelin, SaintOmer (inv. no. 986.138.1/2) is attributed to Nevers. A small chinoiserie vase with scroll handles, attributed to the Northern Netherlands, in the collection of Dingeman Korf, 14.7 cm. (5 13/16 in.) high, is illustrated in D. Korf, Nederlandse Majolica (Bussum 1962), p. 55, ill. 52. A pair of white vases, attributed to Rotterdam, with handles almost identical to the present pair but on a stepped pedestal base, and sparsely decorated in colors with a (French) triple-tulip motif, 26 cm. (10 1/4 in.) high, was sold at Christie’s in Amsterdam on December 12, 1995, lot 290. A larger vase of this type with lionand-ring handles and mythological decoration, marked for Jacob Wemmersz. Hoppesteyn of Het Moriaanshooft (The Moor’s Head) Factory, circa 1680-85, 49.5 cm. (19 1/2 in.) high, is illustrated in Aronson 2004, p. 29, no. 27. A similarly shaped pair, 46 cm. (18 1/8 in.) high, in the Rijksmuseum, Amsterdam, is illustrated in Van Dam 2004, pp. 90-91, ill. 47.

with scroll handles, inscribed IHS (the monogram used in Western Christianity to signify the first three letters of Jesus' name: iota-eta-sigma, but also interpreted in Latin as Iesus Hominem Salvator or "Jesus Savior of Men") are known in public collections: one 21.6 cm. (8 1/2 in.) high in the Rijksmuseum, Amsterdam, illustrated in Hudig 1929, p. 75, ill. 63; and a smaller example, 11.5 cm. (4 1/2 in.) high, in the Museum Boijmans van Beuningen, Rotterdam, illustrated in Lunsingh Scheurleer 1984, p. 186, ill. 20. Two vases decorated with a portrait of Saint Peter were sold at Christie’s in Amsterdam on December 10, 1997, lot 369, and November 2, 2005, lot 419, respectively. A further ecclesiastical hint is added by Jet Pijzel-Dommisse, op. cit., p. 105, ill. 12, who notes that Italian bronze candelabra with a middle section of similar shape are known to exist, largely in Italian churches. Similar examples: Unmarked blue and white chinoiserie vases of this type, circa 1675-1700, provide an element of uncertainty as to the place of manufacture, suggesting that De Grieksche A Factory may not have been their singular source. Unmarked examples of similar shape, attributed to Delft,

18. Pair of Blue and White Triangular Candlestick Bases Delft, circa 1680-85 Marked SVE in blue for Samuel van Eenhorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685

described by J. W. Frederiks, Dutch Silver, Embossed Ecclesiastical and Secular Plate from the Renaissance until the End of the Eighteenth Century (The Hague 1961), pl. 71, no. 58, and pp. 31-32. This candlestick, one of a set of six in the Old Catholic Church of St. John the Baptist in Gouda, is embossed in the panels between the feet with St. Augustine, St. John the Baptist and St. John the Evangelist, the five other candlesticks having various different subjects. The shaft and pricket, which together are three times the height of the base (for a total height of 68 cm. [26 3/4 in.]) are composed of a series of campaniform, baluster and ‘vase’-shaped elements alternating with ring turnings and foliate motifs, which would have been a tour-de-force for De Grieksche A to replicate in faience. It is most likely, therefore, that the shaft was constructed of several sections fitted on and held together by a central metal rod. The form must have been particularly widespread in the Netherlands, as other pricket candlesticks of this general shape, but with variations in the decorative elements of both the triangular base and the shaft, and marked for a variety of makers and cities, are illustrated ibid.: pl. 83, no. 71, an example of 1657 by P. C. Ebbekin, Haarlem; pl. 119, no. 105, an example of 1633 by Michiel de Bruyn, Utrecht; pl. 120, no. 106, an undated example also by Michiel de Bruyn, Utrecht; pl. 134, no. 122, an example of 1666 by Johannes Bogaert, Amsterdam; pl. 180, no. 170, an example of 1652 by David Micheel, The Hague; pl. 239, no. 241, a mid eighteenth-century example, unsigned; and pl. 284, no. 290, an example of 1735 by the Monogrammist IB, Rotterdam. With one exception in a private collection, all of these candlesticks are currently in Catholic churches in the Netherlands – most likely the churches for which they originally were made during a period of more than a century – and it is particularly interesting that the aforementioned 1633 candlestick by Michiel de Bruyn is one of a pair in the Old-Catholic Church of St. Ursula, Delft.

Each with slightly concave sides centering a roundel depicting a scene from ‘The Passion of Christ’ reserved on a blue ground within sprays of lilies, the S-curved corners terminating in blue peg feet and issuing a human head wearing a beaded necklace above a painted angel’s head wearing a cross and echoing the three angel heads painted on each corner of the flat top and alternating with three ruyi-head devices issuing from a double-circle enclosing a central circular aperture, and the slightly canted upper edge with a foliate border. The roundels on one depict “The Last Supper” with Christ seated amidst eleven disciples at a table set with a candle and dishes of food; “The Betrayal” in the Garden of Gethsemane, with Judas Iscariot kissing Christ amidst five soldiers with torches and a sixth beating another on the ground; and “Christ’s Arrest” with Jesus tethered and being led by six temple guards of the Sanhedrin to the high priest’s house, or possibly from the Sanhedrin to Pontius Pilate. The roundels on the other depict the blindfolded “Jesus Mocked” and beaten by his Jewish guards at the high priest’s house while two figures kneel before him, one pulling a cloth from a pot; Jesus holding a reed and seated among three men, one kneeling, another placing the “Crown of Thorns” on his head, and the third striking him with a larger reed; and “Ecce Homo” (“Behold the Man”) with Jesus between two soldiers, presented by Pontius Pilate to the mob below, who demand his death. Height: 20 cm. (7 7/8 in.); widths: 28 and 29.5 cm. (11 and 11 5/8 in.) Note: These candlestick bases appear to be of a form unrecorded in Dutch Delft, but clearly taken from earlier Dutch ecclesiastical silver. A silver pricket candlestick of this model, dated 1638 by Thomas Bogaert (1597-1652/53), who was a master of the silversmith’s guild in his native city of Utrecht, but who worked in Amsterdam, where in 1635 he was an alderman of the Amsterdam silversmiths’ guild, and in 1640 dean, is illustrated and

With respect to the decoration on these candlestick bases, the scenes certainly were taken from a series of seventeenth-century prints depicting ‘The Passion of Christ’, which have not yet been identified. In Christian theology, ‘The Passion’ is the title given to the spiritual, physical and emotional suffering of Jesus during the difficult events from the hours between ‘The Last Supper’ and his death by crucifixion the following day. The story is central to Christian belief, and various but similar accounts of ‘The Passion’ are found in the four canonical gospels: Matthew, Chapters 26-27; Mark, Chapters 14-

Fig.1 Jacob de Wijs. Silver church-candleholder from the Begijnhof-church, Amsterdam, 1677. Amsterdam museum; on loan from Stichting Het Begijnhof Amsterdam

not wishing to be identified with the accused, denied any acquaintanceship, but by doing so fulfilled Jesus’s prediction that he would deny him three times before the cock crowed; and Peter is filled with remorse. Initially condemned, Jesus is flogged and taken by the guards to the Praetorium, where he is crowned with thorns, stripped and dressed in a purple robe, given a reed to hold, and mocked as “King of the Jews,” while being beaten with another reed. Appearing again before Pontius Pilate, Jesus is asked if he is “King of the Jews,” and he replies, “Thou sayest it.” In spite of this and of the many deeds of which Jesus is falsely accused by the chief priests and elders, but to which he remains silent, Pontius Pilate decides he is not to be put to death. He presents Jesus to the crowd: “Ecce Homo”, giving them a choice of releasing him or the criminal Barabbas, but he is unable to dissuade the priests and the mob from their determination to crucify Jesus. So Pontius Pilate washes his hands before the multitude, saying, “I am innocent of the blood of this just person,” and Jesus is led away to drag his cross to Golgotha, a hill near Jerusalem, where he is crucified between two thieves while the Roman soldiers divide his clothes. At midday the sky darkens, and with his last breath, Jesus cries out, “Eloi, Eloi, lama sabachthani?” (“My God, my God, why hast thou forsaken me?”) Recognizing Jesus’s death, Joseph of Arimathaea, a rich man and a disciple of Jesus, asked Pontius Pilate for permission to take the body away. His request granted, Joseph wrapped Jesus in a clean linen cloth and delivered him to his own tomb, rolled a great stone in front of the entrance and departed.

15; Luke, Chapters 22-23; and John, Chapters 12-19, who provides a more detailed version. ‘The Passion’ begins in the conspiracy against Jesus by the Jewish chief priests, scribes and elders, and continues through the following events: ‘The Last Supper’, which was the celebration of Passover shared by Jesus and his twelve disciples at which he announces that one of them will betray him, and asks that they remember him. After the meal, they proceed to the Garden of Gethsemane, where Jesus tells them that they will abandon him that night, and though Peter protests, Jesus declares that Peter will deny him three times before the cock crows. As the disciples sleep in Gethsemane and Jesus wanders off to pray, he returns twice to find Peter failing to keep watch as he had asked, and then comes the moment of betrayal by Judas Iscariot, who arrives with a multitude of soldiers, and kisses Jesus to identify him in order that he can be arrested. At the sight of the mob, the disciples run away and Jesus is arrested, taken to the chief priest’s house, blindfolded and beaten by the soldiers before he is taken to the Sanhedrin for trial. At the trial Jesus is asked whether he is the son of God, and by failing to deny it, he is accused of blasphemy, sentenced to death and prepared to be sent to Pontius Pilate, the Roman governor. Peter, who had followed Jesus at a distance was asked if he knew this man, and

19. Blue and White Small Octagonal Ewer Delft, circa 1680-85 Marked SVE in blue for Samuel van Eenhoorn, the owner of De Grieksche A (The Greek A) Factory from 1678 to 1685 The baluster-form body painted with Chinese tasseled emblems suspended from a bowknot within four panels alternating with two panels of flowering plants or two panels of a bird singing by a flowering plant, all beneath a border of petal-shaped lappets containing tassel and dot devices below a band of ruyi heads repeated on the slightly flaring neck beneath the scalloped rim, and the loop handle decorated with a foliate vine. Height: 14.8 cm. (5 13/16 in.) Similar example: A slightly larger ewer of this model, unmarked but attributed to Samuel van Eenhoorn or Rochus Hoppesteyn, is illustrated by Neurdenburg, Rackham 1923, pl. XXV, fig. 39.

Blue and White Large Urn-Form JardiniĂ¨re, ill. 20, during the KVHOK exhibition at PAN Amsterdam, November 2012, Design by Jan des Bouvrie

20. Blue and White Large Urn-Form Jardinière Delft, circa 1686-1701 Marked AK in blue for Adrianus Kocx, the owner of De Grieksche A (The Greek A) Factory from 1686 to 1701 the tastemakers of the time in the Netherlands, England and France, who followed Mary’s lead by placing their own orders in Delft for grandiose ceramics to enhance the many splendid houses, which, particularly in England, were being built or refurbished at the time. It is no coincidence that the English nobility used architecture and interior design and ornamentation as a means to gain social and political status, and during the reign of William and Mary, they adapted easily to the Dutch court style and the favored architects of the day, among them the court architect William Talman (1650-1719), who designed Chatsworth in Derbyshire, Dyrham Park in Gloucestershire, Drayton House in Northamptonshire, and Uppark in Sussex, all but Uppark still furnished lavishly with specially commissioned Dutch Delftware; see R. Liefkes and P.F. Ferguson, “Delfts aardewerk in Engelse verzamelingen” (“Delft ceramics in English collections”) in Lahaussois 2008, pp. 98-105.

Painted around the campaniform body with a pair of deer, peacocks, cranes and other birds amidst flowering plants and rocks between a series of floral, foliate-scroll, whorl-patterned lappet and ruyi-head borders around the rim, neck, upper and lower body, knopped ankle and domed circular foot, the sides affixed with loop handles pendent from large chrysanthemum blossoms, and the center of the interior pierced for drainage, Height: 44 cm. (17 5/16 in.) Provenance: A Continental private collection formed before World War II and rediscovered in 2000; The Dr. Günther Grethe Collection, Hamburg Exhibited: Leeuwarden, Keramiekmuseum Princessenhof, Groen Geluk, March 25 to October 28, 2012; PAN Amsterdam, KVHOK by Jan des Bouvrie, November 18 to 25, 2012

The Delftware in the collection of Queen Mary during the period from 1677 to 1689 in which she lived in Holland at Het Loo Palace, is known through excavations adjoining the garden of her ‘keukenkeldertje’ (‘little kitchen basement’), recorded in A.M.L.E. Erkelens, Queen Mary’s ‘Delft porcelain’: Ceramics at Het Loo from the time of William and Mary (Zwolle 1996), who mentions that a 1713 inventory of this apartment included five small flower pyramids (p. 69). The only marked pieces that were found from this period, however, were by Samuel van Eenhoorn, the owner of De Grieksche A from 1678 to 1686, prior to Adrianus Kocx’s slightly lengthier and more prolific ownership from 1686 to 1701.

Note: This impressive jardinière or garden pot is one of the rare survivors from an important group of large ornamental wares for the presentation of flowers and plants, which were admired and, when sufficient personal wealth permitted, commissioned by the court, the nobility and the aristocracy in Holland, England and France, primarily during the short co-regency of Holland and England (with Scotland and Ireland) from 1689 to 1694 by King William III (1650-1702) and Queen Mary II (1662-1694). After Mary’s death from smallpox in 1694, William continued his reign for eight more years until his own death from pneumonia following a riding accident in 1702. As the couple died childless, William was succeeded on the English throne by his sister-in-law, Queen Anne (1665-1714), Mary’s younger sister. However, he had no heir in Holland, and his death brought an end to the House of Orange, but not to the flourishing Delft factories, which Queen Mary’s taste and patronage had done so much to promote.

After Mary had moved back to England, her Delftware, which was installed primarily at Hampton Court, increased both in size and extravagance of shape, presumably an accommodation to the scale and grandeur of the rooms. At Hampton Court, Mary had her own pavilion, the Water Gallery, where her Delft was displayed. As discussed by W. Erkelens, “Koninklijk Delfts ‘porselein’” (“Royal Delft ‘porcelain’”) in Lahaussois 2008, pp. 92-97, ills. 5-10, the Water Gallery included a dairy with sizeable milk dishes and large ornamental tiles decorated with designs after Daniel Marot (1662-1752), the court designer (who, as a French Huguenot had brought the style of Louis XIV [1638-1715] to the Protestant court of William and Mary), as well as a gallery where large flower pyramids and vases were placed, and “into which opened a little room in each of the four corners: a mirrored room, one of marble, one for the bath, and one of Delft ‘porcelain’” (ibid., p. 92). As described by the English journalist and novelist, Daniel Defoe (c. 16601731), the Water Gallery was “the pleasantest little thing

Without surviving children, Queen Mary had occupied herself with various interests, among them gardening and a passion for blue and white Chinese porcelain and its counterparts in Dutch Delftware with which she filled her residences at Het Loo Palace in Apeldoorn, Kensington Palace in London and Hampton Court in Richmond-on-Thames. To effectively display her flowers and plants, but also for use as decorative ornaments, she ordered large urns, vases and flower pyramids primarily from De Grieksche A Factory during the ownership of both Samuel van Eenhoorn and Adrianus Kocx, thereby establishing a fashion for such vessels among 34

within doors that could possibly be made” (Daniel Defoe. A Tour Through the Whole Island of Great Britain, [17241726; Harmondsworth 1986]. p. 183). Defoe then described the Queen’s collection of Delftware and Chinese porcelain at Hampton Court: “Her majesty had here a fine apartment, with a sett of lodgings, for her private retreat only, but most exquisitely furnish’d; particularly a fine chints bed, then a great curiosity; another of her own work, while in Holland, very magnificent, and several others; and here was also her majesty’s fine collection of Delft ware, which indeed was very large and fine; and here was also a vast stock of fine china ware, the like whereof was not then to be seen in England; the long gallery, as above, was fill’d with this china, and every other place, where it could be plac’d, with advantage.” (ibid.) While it cannot be assumed that this jardinière was necessarily part of a royal commission, it is tempting to imagine that it is not impossible, as it has been suggested by Liefkes and Ferguson in Lahaussois 2008, p. 104, that during William III’s royal progressions, the King may have offered specially-commissioned pieces, or even some of his wife’s ceramics, as gifts to his hosts. Nevertheless, the jardinière certainly owes its inspiration to royal tastes in both Holland and England at an important moment during the ‘Golden Age’ of De Grieksche A and its contemporary factories in Delft. Similar example: An AK-marked jardinière or “garden urn” of a similar model and size, circa 1689-94, decorated with the arms of William Cavendish (1641-1707) as 4th Earl of Devonshire, who received the Order of the Garter and was created 1st Duke of Devonshire in 1694, is at Chatsworth, the ducal residence for which it was ordered originally, and is illustrated in Lahaussois 2008, p. 101, fig. 3.

21. Pair of Blue and White Pyramidal Flower Vases Delft, circa 1695 Marked AK and an X-O device in blue for Adrianus Kocx, the owner of De Grieksche A (The Greek A) Factory from 1686 to 1701 and holes,” the tiered pyramidal vases in particular “growing ever taller and more complex in shape” over the years. “As a symbol of the fame and glory of the monarch, the pyramid or obelisk was a favorite shape at European courts. The central axis of the garden at Het Loo [the royal palace in Apeldoorn] led to a wooden obelisk, and the first triumphal arch erected for William’s entry into The Hague in 1692 was flanked by pyramids topped with sculptures of William and Mary.... It is hardly surprising, therefore, that the shape was chosen for flower vases belonging to the King and Queen of England [and the United Provinces]. On the other hand, it is possible that the choice was influenced by Louis XIV [1638-1715]. His inventory includes, under the heading ‘Filigranes d’or’ [‘Gold Filigree’], four pairs of pyramids described respectively as ‘à bouquets et tulipes, à bouquets et roses, à tulipes au dessus et au dessus à tulipes’. This could mean either that the bouquets, tulips and roses were part of the surface decoration of the objects or that they were three-dimensional. Surface decoration involving tulips and roses might suggest that the royal pyramids were specifically intended to hold those flowers” (ibid., pp. 3940).

Each formed as a blue-ground baluster-form vase reserved with lotus and other blossoms and foliate scrolls surmounting three graduated square tiers decorated with various floral devices and issuing at each corner a spout formed as an open-mouthed beast decorated with two rings of beadwork around its molded neck, the lower tier painted on each side between the spouts with a peacock amidst flowering plants above a canted edge bordered in floral diaperwork, the integral waisted square base with a border of scrolls above a blue ground reserved on each side with foliate scrolls issuing from a quatrefoil panel enclosing a flowering branch above a hatchwork-bordered footrim. Heights: 32.4 and 32.9 cm. (12 3/4 and 12 15/16 in.) Illustrated on the cover Note: Although the name ‘tulip vase’ has been ascribed traditionally to the great variety of “vases with spouts” on the supposition that they were intended specifically to hold the precious and popular tulips, in the seventeenth and eighteenth centuries they actually were filled with all varieties of cut flowers, displaying the exuberant floral taste of the time. This floral fervor was one of the two passions of Queen Mary II (1662-1694) – the other being her collection of Chinese blue and white porcelain. Mary’s “chinamania”, as it came to be called by the English journalist and novelist, Daniel Defoe (c. 1660-1731), was the subject of his 1692 criticism of her overabundance of Chinese porcelain at her London residence, Kensington Palace (supposedly 7,800 pieces). But this obsession did not go unnoticed by the Delft factories, who, with their production of vessels in the Chinese taste, encouraged Mary’s patronage along with that of the nobility and aristocracy in England and on the Continent, which in turn enabled them to develop their technical skills and virtuosity in the production of all manner of “vases with spouts” to display the panoply of flowers that so delighted the Queen and her circle.

“The pyramid was also a favorite shape for displays of porcelain in cabinets” (ibid., p. 41), perhaps inspired by the association of the coveted Chinese ceramics with the tapering architecture of Chinese pagodas. The relationship seemed even closer when the objects displayed were decorated with oriental motifs. It is in this spirit that the earliest Dutch Delft pyramid vases with spouts emerged, and with royal and noble patronage grew to astounding heights, both their size and their floral capacity symbolizing wealth and prestige. For a more extensive historical background on the production of large jardinières and “vases with spouts” of this type, see the note to number 36 in this publication. Similar examples: A pair of vases of this exact form with AK marks and very similar decoration, formerly in the collection of Aronson Antiquairs, is illustrated by Van Aken-Fehmers 2007, p. 176, no. 5.01, fig. 1, who also illustrates on the same page, no. 5.01, a single vase of this form, similarly decorated, but with spouts of a different shape. One of a pair of tall pyramid vases 108 cm. (42 1/2 in.) high, circa 1690, in the Blathwayt Collection at Dyrham Park, Gloucestershire, with seven tiers of spouts of the same form as on the present pair, but on a tall rectangular base decorated with classical subjects, is illustrated in Lahaussois 2008, p. 104, fig. 7.

According to Van Aken-Fehmers 2007, pp. 14-16, “of the over thirty Delft potteries in operation around 1700, the marks show that at least five produced vases with spouts.” Among them, factories such as “De Grieksche A...had been producing such vases since as early as around 1680, although the earlier examples generally were more modest in size than those [extraordinarily grand examples] made for the English court” of King William III and Queen Mary II. “Where quantity is concerned, De Grieksche A and De Metaale Pot [The Metal Pot Factories] were at the top the list. Over a period of sixty years from around 1680 to 1740, they sold a multitude of different types of vases with spouts

22. Blue and White Very Large Double-GourdShaped Vase Circa 1695-1715 The ovoid body robustly painted with two phoenixes and three other birds in flight and perched amidst flowering shrubbery growing around rocks, and the baluster-form upper body with a deep floral lappet and roundel border beneath a band of stiff leaves and beribboned symbols around the neck. Height: 70.7 cm. (27 13/16 in.) Provenance: The Dr. G端nther Grethe Collection, Hamburg

23. Blue and White Large Double-GourdShaped Vase Delft, circa 1700-10 LVE 4 1 :K * mark in blue for Lambertus van Eenhoorn, the owner of De Metale Pot (The Metal Pot) Factory from 1691 until 1721 Painted on the bottle-shaped upper section and the ovoid lower section with a profusion of floral clusters below a border of floral lappets alternating with foliate scrolls issuing from ruyi heads forming a border around the rim of the neck and the shoulder and repeated in a variation on the lower body above a petal border around the footrim, the lower body of the upper section with a chain-and-foliate border. Height: 61.7 cm. (24 5/16 in.)

24. Pair of Massive Baluster-Form Vases and Covers Delft, circa 1700-20 Marked LVE 21 4 in blue for Lambertus van Eenhoorn, the owner of De Metaale Pot (The Metal Pot) Factory from 1691 until 1721 Each piece painted all over with floral and foliate sprigs and sprays interspersed with small clusters of dots between floral-patterned blue-ground lappet borders around the shoulder and flaring foot, the ankle with a further border of ruyi heads and blossoms, the upper shoulder and cover rim with similar borders of blossoms, leaves and foliate scrolls beneath a ruyi-head and lappet band, the neck encircled by a ruyi-head and blossom border, and the spherical knop similarly decorated with floral and foliate sprigs, sprays and dot clusters and surmounted by a conical mushroom-shaped finial.

Moody, incorrigibly undisciplined, something of a drunkard and generally badly behaved, Lambertus van Eenhoorn, nevertheless, understood and respected the business of Delftware. Undoubtedly, it was the experience of his travels that encouraged him to expand his export trade, and it was under his management that the factory name gained an important reputation internationally. He employed significant master potters and painters at De Metaale Pot, and although he changed his supervisors every four or five years (generally it is their initials that accompany the factory mark LVE), he is said to have compensated and treated his employees well. After Lambertus’ death in 1721, his wife took charge of the factory, and in 1724 sold it to Cornelis Koppens (d. 1761), but she continued to use the distinguished LVE mark throughout her years of ownership.

Height: 86.4 cm. (34 in.) Provenance: A Dutch private collection Note: De Metaale Pot was one of the most productive and ambitious of the early Delft potteries. Founded, like many of its counterparts, in the building of a former brewery on the Geer, it operated under several ownerships until 1670, when it was sold to Willem Cleffius, who managed the factory with his son Lambertus. In 1691, upon the death of Lambertus Cleffius, the factory was acquired by Lambertus van Eenhoorn, a seemingly unlikely proprietor. A spendthrift with a serious case of wanderlust, his travels had taken him to Ireland and Scotland and in 1677 to the East Indies. Although in 1678 he settled into the study of medicine at the University of Leiden, his studies were interrupted by further voyages eastward to Leipzig, Vienna and Smyrna, and were not resumed until 1687. The following year he married Margarethe Teckmann of Utrecht after nearly reneging on his marriage contract.

Similar examples: A large vase of this form and date, similarly decorated and marked LVE and HKP, (61.5 cm. [24 1/4 in.] in height), is in the Musées Royaux d’Art et d’Histoire, Brussels, illustrated by Helbig, Vol. I, p. 57, ill. 30; by J. Helbig, Nederlands Plateel +/-1640 tot +/-1800, Plaket Nº 2 (Luik, no date), pl. 8; by De Jonge 1970, p. 53, ill. 48; and by Mariën-Dugardin 1971, p. 78. A pair of this shape, similarly massive, but unmarked and slightly differently decorated, is illustrated in Aronson 2006, pp. 29-31, no. 22.

25. Pair of ‘Cashmire’ Palette Reeded Octagonal Vases Delft, circa 1700-10 Each painted on the front of the baluster-form body with a phoenix bird perched on a pierced rock amidst flowering shrubbery beneath two smaller acrobatic birds and flitting insects, the reverse with further insects amidst flowering shrubbery and rocks, all above a flowering vine border around the foot, the knopped neck with a wide border of three large floral lappets alternating with three smaller lappets, all issuing blossoms and foliate scrolls, and the flaring neck with a demi-ruyi-head and petal border. Height: 36.2 cm. (14 1/4 in.) Provenance: The Ivan B. Hart Collection, Monte Carlo, number 216 Similar examples: A pair of ‘Cashmire’ palette vases of this shape, quite similarly decorated, and forming part of a five-piece garniture marked LVE for Lambertus van Eenhoorn, the owner of De Metaale Pot (The Metal Pot) Factory from 1691 to 1721, is illustrated in Aronson 2012, pp. 50 and 51, no. 29.

26. Blue and White Heart-Shaped Flower Vase Delft, circa 1705-15 Unmarked but attributed to De Metaale Pot (The Metal Pot) Factory Painted on the front with a pair of cherubs frolicking amidst floral sprigs and three-dot clusters beneath a blossom-and-scroll device and between a dotted oval guilloche border on the front of the serpentine-molded shoulder and knopped ankle, the shoulder with three tubular spouts at the front and five on the top, all decorated with scroll devices, the sides with winged dragon handles, and the rectangular foot with fan-shaped panels of prunus blossoms or ruyi heads and demi-chrysanthemum blossoms above a hatchwork band at the edge. Height: 20.6 cm. (8 1/8 in.); length: 20.2 cm. (8 11/16 in.) Provenance: Aronson Antiquairs, Amsterdam; The Patricia and Rodes Hart Collection, Tennessee Similar examples: Two tulip vases of this form and with quite similar decoration, one of them also marked for De Metaale Pot factory, are illustrated in Van Aken-Fehmers 2007, p. 222, no. 7.16; and in Lunsingh Scheurleer 1984, p. 257, pl. 200. A pair similarly marked and decorated is illustrated by Schaap 2003, p. 78.

27. Blue and White Ring-Form Puzzle Jug Delft, circa 1725-35 The circular body painted on the front and reverse with a Chinese pheasant perched on a C-scroll forming the stem of a flowering leafy peony branch, the slightly flaring neck with a dotted ground decorated with blossoms and pierced with three roundels, each centering a six-petal flowerhead below three teardrop-shaped nozzles issuing from the tubular neck decorated with a scrolling vine beneath a herringbone border and extending from the flowering-vine-decorated tubular loop handle, and the bell-shaped domed foot with borders of leaves and scroll devices. Height: 24.4 cm. (9 5/8 in.) Similar examples: An earlier jug of this ring-bodied model, though without the trick puzzle jug features of the pierced neck and nozzles, and inscribed and dated 1658, is in the Rijksmuseum, Amsterdam, illustrated by Van Dam 1991, p. 17, no. 6, who comments that â&#x20AC;&#x153;seventeenth-century Delftware potters often derived their designs for jugs and tankards from the popular stoneware jugs imported at that time from the Rhineland, and this unusual shape is found in the Westerwald producersâ&#x20AC;&#x2122; range, [where] it was introduced in the third quarter of the seventeenth century.â&#x20AC;? The same example is illustrated in Lunsingh Scheurleer 1975, no. 21; and in Lunsingh Scheurleer 1984, p. 222, no. 112. A blue and white chinoiserie puzzle jug contemporary with and similar to the present example, but with a differently pierced neck, is illustrated in Helbig, Vol. II, p. 83, fig. 76.

Animals from

The Ivan B. Hart Collection, Monte Carlo 51

28. Polychrome Group of Two Monkeys Delft, circa 1710-20 appeared on the margins of manuscripts throughout the Middle Ages became an increasingly significant vehicle for lively – and often astonishingly bold – social commentary, and within those confines the monkey soon became a figure of first importance [and a ‘chief protagonist’ in its] ‘marginal’ revolt against the confinements and hypocrisies of medieval society” (ibid., p. 36). Throughout the Renaissance, from the fourteenth through the seventeenth centuries, monkeys continued “not so much as targets of ridicule, but rather as assistants in pointing up the assorted idiocies of human endeavor” (ibid., pp. 46-49), an attitude that was best portrayed by the Flemish artist, David Teniers the Younger (1610-1690), who produced a great many paintings featuring monkeys involved in the pursuits of everyday life. Teniers’s simian paintings, which were a natural outgrowth of the Gothic drôleries, “achieved a kind of official genre status during the Baroque [period, and] succeeded in making the idea of creating such a burlesque...seem so natural and felicitous” (ibid., p. 60) – an idea that fed directly into the frivolity of the Rococo period and its fascination with singerie.

Modeled anthropomorphically as two brown monkeys, one wearing a blue, iron-red, yellow and green-spotted waistcoat, seated on a brown rock with his hands on his thighs and his head bent backwards while the second, wearing a blue-striped robe, stands to his right with both hands over the open mouth of the first, on a flat square base marbleized in blue, yellow, white and manganese. Height: 10.8 cm. (4 1/4 in.) Provenance: The Madame C. Alberge-Looman Collection, The Hague, sold at Frederik Muller, Amsterdam, November 9-12, 1954, lot 266; A. Vecht, Rokin 30, Amsterdam; The Ivan B. Hart Collection, Monte Carlo, number 206 Note: In his interesting monograph on The Monkey in Art (New York, 1994), p. 6, Ptolemy Tompkins asserts, “No artist has ever made an image of an animal that does not somehow include the human world. This is especially so with these strangely intermediate beings, the monkeys and apes. In myth and legend, in literature, and especially in the world of art, monkeys carry the weight of human projections more often than any other animal.... Perhaps because we have never quite been able to forgive them for reminding us of ourselves, we humans have accused monkeys of an astonishing number of faults,” and have charged them with our own misdeeds.

So allied with the spirit of frivolity, exoticism and to some degree decadence in the mid eighteenth century Rococo period, singerie, or the art of monkeys (often rendered anthropomorphically) developed in France probably from the late seventeenth-century ornamental designs of Jean Bérain the Elder (1637-1711), whose scrolls and grotesques led ornamental taste through the pomposity of the Baroque and Régence and into the Rococo. From Bérain through Claude Audran III (1657-1734). who in 1709 decorated the Château du Marly for Louis XIV (1638-1715) with monkeys in human clothing; and Christophe Huet (17001759), whose walls and ceilings of Grande Singerie and Petite Singerie at the Château de Chantilly, painted in 1735 for Louis-Henri de Condé, the Duc de Bourbon, depict allegorical designs of monkeys, mostly wearing Mandarin costumes and pursuing everyday activities in a satirical manner. Huet became well known for his singeries, which included a numbered set of drawings of monkey musicians wearing stylish French clothing, used as the sources for the much-imitated Meissen porcelain monkey orchestra (‘Affenkapelle’), modeled originally by Johann Joachim Kaendler (1706-1775) in 1746, a 19-piece set of which was supplied by the Paris marchand-mercier Lazare Duvaux in December 1753 to “Mme la Marquise de Pompadour... Dix neuf figures de Saxe [Meissen porcelain] formant un concert de singes, avec les instruments & attributs, a 23 [livres] 437 un pupitre même porcelaine, 6 [livres]”. Perhaps it was this curious and much-admired monkey orchestra belonging to the official mistress of Louis XV

The monkey first appears recognizably in ancient Egyptian art, where it is cast in a positive light, largely through religious glorification. The classical world of the Greeks and Romans, particularly in the realm of fable, showed considerably less veneration and more often held the monkey in a certain humorous disdain, well apart from the more conventional members of the animal kingdom. “Along with its obvious resemblance to humans, it was, curiously enough, the monkey’s high intelligence which let it in for all this insult and mockery” (ibid., p. 21). But it was with the arrival of Christianity that monkeys began to be seen as evil, as perhaps presumptuous agents of the Devil; and “the first monkeys of Christian art are unambiguously wicked creatures,...bristling with a vaguely sexualized menace that seems to compress within itself everything in the natural world that was frightening or troubling to the Christian mind” (ibid., p. 29). “As Gothic attitudes gradually replaced those of the Romanesque, the humorous, satirical drôleries that

29. Pair of Polychrome Figures of Seated Dogs Delft, circa 1720-40 Each with a blue- and yellow-spotted coat, blue-delineated facial features, ears, spine, paws and tail curled under the right hind foot, wearing an iron-red-striped yellow collar molded with iron-red-circled bosses, and modeled affronté, seated on a green oval cushion above a blue or green rectangular base edged with a border of iron-red dashes and whorls. Heights: 19.9 and 20.6 cm. (7 13/16 and 8 1/8 in.) Provenance: Aronson Antiquairs, Amsterdam; The Ivan B. Hart Collection, Monte Carlo, number 224 Note: Although it is possible that these models were taken from Chinese porcelain originals, it is equally likely that they were modeled from life or from Dutch penny prints, examples of which are illustrated in exh. cat. Centsprenten, Nederlandse Volks- en kinderprenten / Catchpennyprints, Dutch popular- and Childrenprints (Rijksmuseum, Amsterdam 1976), pp. 119 and 121, nos. 205, 217, 218 and 221.

(1710-1774) that solidified Huet’s reputation as the master of “monkey business.”

A blue and white dog of the same model as the right dog in the present pair, marked LVE for Lambertus van Eenhoorn, the owner of De Metaale Pot (The Metal Pot) Factory from 1691 to 1724 (sold at Bonhams in London on November 14, 2007, lot 107), indicates that these models were produced in Delft from the early eighteenth century. The model was produced also in both white (such as the related dog illustrated in Van Aken-Fehmers 2001, p. 126, fig. 1) and polychrome versions to accommodate its popularity among all sectors of the Delft market.

Once established as the rage in France, where its satirical freedom, its insouciance and its playful exoticism were so akin to the court culture, singerie spread rapidly around Europe, but with few exceptions it did not have the same fashionable effect – at least not in ceramic representations. The Meissen factory continued to produce porcelain figures of monkeys in various guises, but the other German and Italian porcelain and faience factories did not find a clientèle receptive to the subtle self-mockery. Even in Holland, where a love of the exotic was evident in the success of the country’s China Trade and the production of its Delftware counterparts, and where the population was willing to laugh at its own foibles, the figures produced at the Delft factories were more representative of familiar daily life than of élitist pursuits, a theme underlying singerie.

Similar examples: A polychrome dog referred to as a “seated pug,” is illustrated in Lunsingh Scheurleer 1984, p. 324, pl. 386; and a polychrome pair was sold at Christie’s in Amsterdam on December 12, 1995, lot 363; and subsequently at Sotheby’s in Amsterdam on March 25, 1997, lot 178. Related models with variations, some with slightly open mouths, baring their teeth, and others with more benign expressions and longer ears, are illustrated in Lavino, p. 162 (top and middle, respectively), and p. 185. The blue and white pair of the model with the open mouth from the Lavino Collection is illustrated in Aronson 2006, p. 56, no. 41; and Aronson 2010, p. 25, no. 7.

This, then, is what makes the present group so rare and unusual, establishing it as one of the very few examples of singerie in Dutch Delft beyond the popular and familiar milk jugs in the form of a seated monkey, an example of which is number 41 in this publication. Similar example: An otherwise unrecorded group of a dentist extracting a tooth from his seated patient whose hands are clasped in prayer, is illustrated in Aronson 2001, ill. 20. 54

32. Polychrome Figure of a Squirrel Delft, circa 1710-25

30. Polychrome Plate Delft, dated 1754

Marked IG 4 in iron-red for the painter Johannes Gaal

Marked 1754 / P in blue Painted in blue, iron-red, yellow, manganese and green in the center with two butterflies flitting toward flowering bamboo and another flowering tree growing above chrysanthemums, a pierced rock and a Chinese garden fence, the rim with three vignettes of prunus and other flowers growing around a pierced rock alternating with three winged insects.

With a yellow curly coat and tail lightly delineated in iron-red, iron-red-edged blue eyes, ears, nose, mouth and tail rib, and modeled nibbling a blue fruit held in his forepaws and seated on a conforminglyshaped green base molded with grasses Height: 18.8 cm. (7 3/8 in.)

Diameter: 22 cm. (8 13/16 in.)

Provenance: The Alfred Boreel Collection, sold at Frederik Muller, Amsterdam, June 16-17, 1908, lot 229; The Madame C. Alberge-Looman Collection, The Hague, sold at Frederik Muller, Amsterdam, November 9-12, 1954, lot 239; The Ivan B. Hart Collection, Monte Carlo, number 210

Provenance: The Ivan B. Hart Collection, Monte Carlo, number 217 31. Polychrome Plate Delft, circa 1730-40 Painted in manganese, iron-red, green, yellow and blue in the center with a long-tailed bird perched on a flowering magnolia tree and eyeing a flitting insect, the wide rim with four flowering branches alternating with large winged insects.

Exhibited: Amsterdam, Rijksmuseum, Tentoonstelling van Oude Kunst 1929, no. 450 Note: Throughout the history of art, among the least represented animals have been rodents: including mice, rats, squirrels and porcupines: the creatures with the gnawing incisors and the often pesky or intrusive behavior. Lacking lovability, domestic charm and the comfortable friendliness of household pets, devoid of exoticism, mythical character or even elegance and nobility, rarely does a member of the rodent family appear

Diameter: 22.5 cm. (8 7/8 in.) Provenance: The Ivan B. Hart Collection, Monte Carlo, number 218 Similar examples: A pair of identical plates is illustrated in Aronson 2007, p. 47, no. 35. 56

among the lush arrangements of fruit and the tangible symbols of both wealth and the transitoriness of life. At the beginning of the eighteenth century, when ceramics were still the privilege of the more prosperous classes, the squirrel remained a rare subject until the Meissen porcelain factory in Germany produced, circa 1735-45, several finely modeled figures of squirrels (including a squirrel-form teapot), by the sculptor Johann Joachim Kaendler (1706-1775). They, in turn were imitated and expanded upon in England at the Chelsea, Bow and Derby porcelain factories, who were catering to a broader clientèle, often with less wealth but more enlightened interests in natural history. It was in the late eighteenth century in Staffordshire, England, however, where, with the onset of the Industrial Revolution, the many potteries began to produce figures and wares for every level of the marketplace – from the grandest to the lowliest households. Finally earthenware figures of squirrels became almost as commonplace as the figures of so many other domestic and farm animals: dogs, cats, chickens, roosters, sheep and cows – the familiar and comfortable creatures of the house and the barnyard.

as a singular subject in any artistic medium. For the most part they are either the scourge or the scoundrels of the animal kingdom, and painters, printer-makers, sculptors and ceramists knew their patrons would not find them appealing subjects. Even though squirrels probably are the least reviled of the rodent family and in some cultures symbolized admirable diligence, they also were known to symbolize marital discord. Occasionally there are references to squirrels as house pets, but largely they were the ubiquitous dwellers of trees and gardens – too familiar to merit artistic representations – and they appear very infrequently in the arts of Europe before the beginning of the sixteenth century. Among the earliest and bestknown representations of squirrels are works from the Northern Renaissance: a watercolor of two squirrels, dated 1512 by the Nuremberg artist Albrecht Dürer (1471-1528); and the portrait of a lady circa 1526-28 by Hans Holbein the Younger (1498-1543), in the National Gallery of London, which shows the subject (thought to be Anne Lovell) with a squirrel and a starling. Only slightly later in the Netherlands, and possibly inspired by the increasing availability of publications illustrating a variety of animal subjects, the squirrel can be found on polychrome tiles, two examples of which are illustrated by Biesboer 1997, one on p. 154 no. 183, depicting a crouching squirrel, dating from 1560-80; (fig. 1) and the other on p. 155, no. 184 depicting a seated yellow squirrel holding a floral sprig, dating from 1580-1600.

Given both the place of the squirrel in the history of art and the rarity of the likely clientèle for a Delftware figure of this humble creature, it is extraordinary to find such a figure being produced in the early years of the eighteenth century. No other Delft figures of squirrels have appeared in the literature, which suggests that this example must have been a special commission – perhaps representing an element of a family’s coat of arms or crest. Even the animal’s yellow coat is rather special and startling, given the costliness of the color. Red might have been too garish, black too difficult, and brown had not appeared in the Delft ‘grand feu’ palette by this date. So yellow was the remaining choice for the painter, Johannes Gaal, who was admitted to the Guild of St. Luke as a plateelschilder (a faience painter) on November 22nd, 1707. Gaal was described by Havard 1909, p. 232-233 as “having been an artist of genuine talent.” He was the owner of De Twee Scheepjes (The Two Ships) Factory from 1707 until his death some time before July 21, 1725, when his widow Gaal-v.d. Plank succeeded him as owner and probably continued to use his mark until 1727, when she sold the factory.

Occasionally a squirrel appears in a seventeenthcentury Dutch still life painting, usually nibbling a nut

Fig. 1. Tile with squirrel. Antwerpen? circa 1560-80. Collection J. Holtkamp. Reproduced with permission of the owner.

33. Pair of Polychrome Plaques Delft, circa 1735-45 Each painted in blue, green, iron-red and yellow with two exotic birds, one perched on a garden fence, the other on a bent shoot of bamboo above a rock and observing a flitting insect amidst flowering plants and banded hedges, the self-molded frame with a green-ground border decorated with blossoms and foliate scrolls within blue lines and a band above the blue outer edge affixed at the top with a pair of leaf scrolls flanking the suspension hole. Lengths: 24.8 and 25.2 cm. (9 3/4 and 9 15/16 in.) 60

Provenance: The Ivan B. Hart Collection, Monte Carlo, number 215 Similar examples: A pair of plaques of this model painted in a similar famille verte palette but with a different Chinese-inspired bird and floral scene in the center is illustrated in Aronson 2003, p. 25, no. 23.

34. Pair of Polychrome Figures of Parrots Delft, circa 1730-40 Each with iron-red-delineated yellow plumage on the breast, blue-delineated green plumage on the head and back, similarly colored wings and eyes, and a blue pierced beak, and modeled standing on a blue pierced rocky mound base decorated with iron-red-centered green blossoms and iron-red-veined white leaves.

Similar examples: In Delftware the same models, with the birds perched on variously shaped mound bases, also were made over a long period of time, the earliest based on Chinese famille verte examples from the Kangxi period (1662-1722), a pair of which is illustrated in Sargent 1991, p. 93, no. 38. Made in several sizes, two parrots of the present size on open-topped bases are illustrated in Van Aken-Fehmers 2001, p. 295, no. 123, and p. 341, where in fig. 1 ten parrots in this and two smaller sizes (including three similar to number 35 in this publication) also are illustrated. Another similar is illustrated in Mees 1997, p. 192 (top).

Heights: 18.5 and 18.6 cm. (7 1/4 and 7 5/16 in.) Provenance: The Rosenfeld-Goldschmidt Collection, sold at Frederik Muller, Amsterdam, May 9-12, 1916, lot 415; The Madame C. Alberge-Looman Collection, The Hague, sold at Frederik Muller, Amsterdam, November 9-12, 1954, lot 257; The Ivan B. Hart Collection, Monte Carlo, number 204

An example of the present model initialed J.D.V. (for an unidentified painter) and dated 1729, is in the collection of the Rijksmuseum, Amsterdam, illustrated in Van Dam 1991, p. 74, no. 35; and in Hudig 1929, p. 161, pl. 153. Another of this model and almost identically decorated to the present pair is illustrated in Aronson 1981, p. 16 (top). A further example of this size with a more elaborately pierced base is in the Evenepoel Collection at the Musées Royaux d’Art et d’Histoire, Brussels, illustrated in Helbig, Vol. II, p. 66, fig. 50; in Fourest 1957, pl. XXXII, no. 3; in Fourest 1980, no. 162, pl. 160; and a pair is illustrated in Lahaussois 1994, p. 142, no. 187. Parrots of this size on a simpler oval base are illustrated in Aronson 2007, p. 44, no. 32; and Aronson 2010, p. 26, no. 8, where on p. 26 the aforementioned pair of Chinese famille verte originals also is illustrated.

Exhibited: Amsterdam, Rijksmuseum, Tentoonstelling van Oude Kunst 1929, no. 450 Note: Parrots, as exotic in the eighteenth century as they remain today, were particularly popular as ornaments in both pottery and porcelain. Cohen, Motley 2008, pp. 278-279, nos. 20.1 to 20.3, who illustrate three pairs of Chinese porcelain parrots of the models that served as the source for their Delft counterparts, comment on p. 278 that “in China the parrot, yingwu, is the symbol of a prostitute, a connection that is derived from a folk tale in which an unfaithful wife is revealed to her husband by a talking parrot.” Although it is unlikely that the symbolism transcended the exoticism of the birds themselves or contributed to their continuing popularity in the West, it endured in China, nevertheless, where the traditional late seventeenth-century models of parrots continue to be made today.

35. Pair of Polychrome Small Figures of Parrots Delft, circa 1765-75

36. Pair of Polychrome Duck Tureens and Covers Delft, circa 1760-70

Marked with a / in blue

Each piece numbered 1 or 2 in blue on the base or the cover interior

Each with a blue beak, eyes, wings and legs, an iron-red head and yellow plumage on the breast and back delineated in iron-red and blue, and modeled perched on a green molded mound base.

Each with an iron-red and green bill, manganese eyes and well molded plumage finely delineated in manganese, green, iron-red, blue and yellow, and modeled roosting on an oval nest of aquatic grasses colored in green and yellow.

Height: 9.9 cm. (3 7/8 in.) Provenance: The Madame C. Alberge-Looman Collection, The Hague, sold at Frederik Muller, Amsterdam, November 9-12, 1954; The Ivan B. Hart Collection, Monte Carlo, number 212

Heights: 16.8 and 16.5 cm. (6 5/8 and 6 1/2 in.); length: 19.6 cm. (7 3/4 in.) Provenance: James A. Lewis & Son, Inc., New York; The Ivan B. Hart Collection, Monte Carlo, number 205

Similar examples: See the note to number 34 in this publication. Three small parrots of this model are illustrated in Van AkenFehmers 2001, p. 341, fig. 1.

Note: Although tureens as the centerpieces of grand services did not become fashionable until the end of the seventeenth century â&#x20AC;&#x201C; initially in silver and later in ceramics â&#x20AC;&#x201C; small tureens in the form of animals and birds date from earlier in the century, when on festive occasions it was customary 64

to serve pies created by pastry cooks to resemble works of art, particularly in naturalistic forms representing their cooked contents. The fancy and decorative pastry forms were even embellished with plumes and bird heads, as revealed in paintings of the period, and they were intended to be opened partially so that the guests could enjoy the contents while still warm. By the middle of the eighteenth century, when the interest in botanical and zoological subjects was interpreted so realistically in ceramics, the art of naturalism was raised to its trompe lâ&#x20AC;&#x2122;oeil zenith in the faience of Strasbourg in France and the porcelain of Meissen in Germany and Chelsea in England. All of these served as the inspiration

and models for the Delft potters, who created their own versions of both domestic and exotic creatures to accommodate an eager clientĂ¨le. Small tureens or boxes of the present size were used both on the dining table, usually to contain sauces for the dessert course, but also as decorative ornaments in a glass cabinet or on a table or sideboard. Similar examples: Duck tureens of this size are rare, but a similar example is illustrated in Stodel 2000, p. 138. A larger, full-sized duck tureen of a related model similarly decorated is illustrated in Van Dam 2004, p. 174, pl. 118.

37. Polychrome Figure of a Frog Delft, circa 1750-75

39. Pair of Polychrome Oval Butter Tubs and PloverForm Covers Delft, circa 1760-70

With ochre skin patterned with iron-red and blue astral devices and clusters of dots, a mouth slightly open to reveal a row of iron-red-edged teeth forming a patterned band repeated across the head and down the spine, and the feet edged in blue, modeled crouching on the blueedged conformingly-shaped base.

Marked VH 3 in blue probably for Hendrik van Hoorn, the owner of the Drie Posteleyne Astonne (Three Porcelain Ash-Barrels) Factory from 1754 to 1808, the interior of one tub and cover with numeral 2, and the interior of the other cover with numeral 6, all in blue

Length: 6.4 cm. (2 1/2 in.)

Each bird with a manganese beak, crest, breast, wing edges and tail, blue eyes within an iron-red-dashed head, and blue-delineated plumage on a pale green back and darker green wings, modeled affrontĂŠ and roosting on a nest of highly molded green grasses.

Provenance: The Ivan B. Hart Collection, Monte Carlo, number 222 38. Polychrome Figure of a Frog Delft, circa 1750-75

Heights: 12.5 and 11.8 cm. (4 7/8 and 4 5/8 in.); lengths: 14.6 and 14 cm. (5 3/4 and 5 1/2 in.)

Marked with a numeral 2 in blue Wit green skin dotted down the spine in blue, iron-red eyes, an iron-red mouth with bluedelineated teeth, and a blue-dotted yellow circle on the white chin and chest, modeled crouching on the green shaped oval base.

Provenance: Sold at Woolley & Wallis, Salisbury, England, February 17, 1998; The Ivan B. Hart Collection, Monte Carlo, number 208. Similar examples: As evidenced by the variety of marks found on butter tubs with plover covers, they were made by a number of Delft factories in several models with variations in both the molding on the tubs and the shape of the birdâ&#x20AC;&#x2122;s tail. A pair of plover-covered butter tubs of the present more prevalent model with the fan-shaped tail, marked I.T.D. 12 for Jan Teunis Dextra of De Grieksche A (The Greek A) Factory, circa 1765, is illustrated in Fourest 1980, p. 162, pl. 158; and three pairs of this model, one pair

Length: 5.5 cm. (2 1/2 in.) Provenance: The Ivan B. Hart Collection, Monte Carlo, number 223 Similar examples: A similar but slightly larger frog in the Rijksmuseum, Amsterdam, is illustrated in Hudig 1929, p. 178, pl. 170.

also marked ITD, are illustrated in Aronson 2001, ill. 40. Further examples of the model are illustrated in Boyazoglu, de Neuville 1980, p. 256, pl. 82; in Helbig, Vol. I, p. 46, fig. 21, and Vol., II, p. 68, fig. 55; in Lahaussois 1998, p. 243, no. 283; and in M.N.V.V.C., No. 54, p. 58, no. 214. Two unmarked pairs of this model and the model with a heart-shaped tail are illustrated in Lavino, p. 153 (bottom and top, respectively), the latter pair also illustrated in Aronson 2010, p. 103, no. 76. Three examples in a third variation of the model are illustrated in Aronson 1996, ill. 14. 69

40. Polychrome Figure of a Seated Greyhound or Whippet Delft, circa 1750-60 With a blue, yellow and iron-red-spotted coat, a blue muzzle, iron-red eyes, manganese ears and haunches, blue-spotted yellow paws and a blue-striped and ironred-edged tail curling under her hind quarters and up over her back, wearing a blue-patterned yellow collar, and modeled with her head turned slightly to the right and seated on a green rectangular base. Height: 20.9 cm. (8 1/2 in.) Provenance: The Madame C. Alberge-Looman Collection, The Hague, sold at Frederik Muller, Amsterdam, November 9-12, 1954, lot 253; A. Vecht, 30 Rokin, Amsterdam; The Ivan B. Hart Collection, Monte Carlo, number 207 Exhibited: Amsterdam, Rijksmuseum, Tentoonstelling van Oude Kunst 1929, no. 450

41. Polychrome Milk Jug in the Form of a Seated Monkey Delft, circa 1750-60 Elector of Saxony and King of Poland, whose own Meissen porcelain factory near Dresden made variations of the model circa 1735, to form a teapot, both as a monkey, an example of which is illustrated by Otto Walcha, Meissen Porcelain (New York 1981), pl. 85, and as a squirrel, an example of which is illustrated by Rainer Rückert, Meissener Porzellan 1710-1810 (Munich 1966), pl. 280, no. 1147. In the middle of the eighteenth century similarly shaped teapots were produced also at the potteries in Staffordshire, England, in white salt-glazed stoneware, as illustrated in Sargent 1991, p. 82, fig. 31b.

With blue-delineated fur and facial features, wearing a yellow cap decorated with iron-red blossoms and tendrils and pierced with a hole to attach it to the hole at the top of the handle formed by his blue S-scrolled tail, modeled holding an iron-red-sprigged yellow jug to his mouth with both hands, and seated on his haunches above a green rocky mound base patterned with blue caillouté and decorated with ironred, yellow and white flowers and buds above the scalloped footrim. Height: 17.4 cm. (6 13/16 in.)

Similar examples: Although ewers of this model are extremely rare in Chinese and German porcelain, the exotic and jolly monkey jugs, some with cheerful inscriptions on their bellies, enjoyed great popularity in Dutch Delftware, and many variations in coloring, decoration, hat and base shapes and factory marks exist. An example with the IP mark of Jan Pennis of De Porceleyne Schotel (The Porcelain Dish) Factory (1724-64), is in the Gemeentemuseum, The Hague, illustrated by Van Aken-Fehmers 2001, p. 120, no. 4; and another of the present model with the IP mark is in the Evenepoel Collection at the Musées Royaux d’Art et d’Histoire, Brussels, illustrated in Helbig, Vol. I, p. 158, fig. 115. An example with the mark of Anthonij Pennis, owner of De Twee Scheepjes (The Two Ships) Factory (1750-82), is illustrated in Aronson 1990, ill. 3; and a fourth with the mark of De Klaauw (The Claw) Factory, along with an unmarked example, is illustrated in Aronson 2010, p. 37, nos. 16 and 15, respectively.

Provenance: Aronson Antiquairs, Amsterdam; The Ivan B. Hart Collection, Monte Carlo, number 221 Note: For a comment on singerie, of which this model is a slightly less obvious representation, see the note to number 28 in this publication. Jugs of this imaginative model were adapted from Chinese Kangxi period (1662-1722) enameled biscuit wine ewers formed as a seated monkey holding an open-topped peach to his mouth. A pair of these monkey wine ewers, in the James E. Sowell Collection, is illustrated in Cohen, Motley 2008, p. 196, no. 14.1, who note that “the monkey traditionally has control of hobgoblins and witches and was often worshipped by sick people to drive them away.” As a popular and wellknown rascally character in Chinese literature, the Monkey (‘Sun Wukong’) “appears in a Ming-dynasty novel, The Journey to the West, by Wu Chengen (1500-1582),” in which he gains immortality and enlightenment by disrupting the heavenly Peach Banquet in the Jade Emperor’s garden, and eating the peaches that had ripened for 3,000 years and had been intended to renew the immortality of the Eight Daoist Immortals. Although his own “immortality proved useful” to his self-preservation, “eventually the Buddha tricked him and banished him to Earth to learn humility.” In adapting the model, the Delft potters, ignorant of the fruit’s symbolism, replaced the monkey’s peach with a jug from which he drinks; moved one of the openings from behind the neck to the top of the head, covering it with either a tricorn hat, or a beret-type cap, as on the present example; and then raised the creature on a rockwork base to add solidity and expand the capacity of the vessel.

Among the monkey jugs inscribed with dates is an example dated 1752 in the Museum Boijmans van Beuningen, Rotterdam, illustrated in Mees 1997, p. 115 (bottom); and another sold at Sotheby’s in Amsterdam on April 7, 2004, lot 35. A 1753-dated example and one dated 1760 in the Gemeentemuseum, The Hague, are illustrated in Van AkenFehmers 1999, pp. 230 and 260, no. 102, and p. 265, no. 107, respectively. A 1754-dated example was in the Van Bogaert Collection, sold at Sotheby’s in Amsterdam on April 23, 1990, lot 30. A monkey jug in the Rijksmuseum, Amsterdam, is illustrated in Van Dam 2004, p. 176, pl. 120; and eight further examples are illustrated in Lavino, pp. 27 and 28. A jug of the present model in the Musée des Arts Décoratifs, Paris, is illustrated in Lahaussois 1994, p. 143, no. 189; and another in the Musée de l’Hôtel Sandelin, Saint-Omer, is illustrated in Boyazoglu 1983, p. 37, no. 71. A monkey jug very close to the Chinese original in shape and coloring is illustrated in Vandekar 1978, p. 15 (top, right).

Sargent 1991, p. 81, no. 31, illustrates a Kangxi monkey wine pot of a slightly different shape and larger size, with a removable head forming the cover, and refers to an example in the collection of August ‘The Strong’ (1670-1733),

42. Pair of Polychrome Figures of Cows Delft, circa 1755-65 Each with a blue-spotted hide, forelock, ear linings and hooves, yellow horns and an iron-red lapping tongue, wearing a garland of iron-red, yellow and blue flowers around her neck and a more lush garland of iron-red, yellow, blue and manganese flowers and green leaves over her back, and modeled affrontĂŠ, standing above snakes and frogs molded within the blue-dashed green grass on the top of a chamfered rectangular base edged in a yellow band above a blue border.

Height: 17 cm. (6 3/4 in.); lengths: 23.2 and 23.5 cm. (9Â 1/8 and 9 1/4 in.) Provenance: The Ivan B. Hart Collection, Monte Carlo, number 201 Similar examples: A collection of five cows of these models with identical decoration are illustrated in Aronson 1996, ill. 18. 75

43. Pair of Polychrome Figures of Horses Delft, circa 1760-75 One marked with an axe and / in iron-red for De Porceleyne Byl (The Porcelain Axe) Factory Each with a white head, a brown hide, blue eyes, nostrils and hooves, and a manganese-delineated mane and tail, wearing a blue saddle over an iron-red-fringed yellow saddle blanket, and standing foursquare on the green top of a chamfered rectangular base marbleized in yellow and iron-red around the canted edges. Height: 16.3 cm. (6 3/8 in.) Provenance: The Hans Wolbers Collection, Belgium; Aronson Antiquairs, Amsterdam, March 16, 2004; The Ivan B. Hart Collection, Monte Carlo, number 205 Similar examples: A pair of brown horses of this model, also marked for De Porceleyne Byl, from the collection of A. Vromen, Jr., Doetinchem, was sold at Christie’s in Laren on October 24, 1979, lot 2884, and is illustrated in Morley Fletcher, McIlroy 1984, p. 218, no. 5; in De Jonge 1967, no. 57; and in Aronson 2004, p. 146, no. 168. A white pair with cold decoration in the Musée de l’Hôtel Sandelin, Saint-Omer, is illustrated in Boyazoglu 1983, p. 44, no. 88. Another pair of this model and coloring is illustrated in Aronson 2008, p. 100, no. 70; and a blue and white pair of the same model was in the Van Hyfte Collection, illustrated in Aronson 2003, p, 39, no. 36.

44. Pair of Polychrome Figures of Prancing Horses Delft, circa 1760-75 with pairs of iron-red-dashed yellow blossoms, wearing a yellow-fringed manganese net beneath a green saddle affixed with brown reins over a yellow blanket molded on either side with a manganese-dotted iron-red ruyi-head device, and modeled affrontĂŠ with one foreleg raised above the green top

Marked with a claw and numeral 60 in manganese for De Klaauw (The Claw) Factory Each with a manganese-spotted hide and manganese eyes, muzzle, ears, mane and twisted tail adorned 78

of a chamfered rectangular base marbleized around the sides in yellow, green and manganese.

ears, which would have accommodated a fancy plume made from real feathers.

Heights: 24.3 and 24 cm. (9 9/16 and 9 7/16 in.); lengths: 22.5 and 23.7 cm. (8 13/16 and 9 3/8 in.

Similar examples: A pair of undecorated white horses of similar models is illustrated in Lahaussois 1998, p. 248, no. 292. A quite similarly modeled polychrome horse marked IVDW, in the MusĂŠes Royaux dâ&#x20AC;&#x2122;Art et dâ&#x20AC;&#x2122;Histoire, Brussels, is illustrated in Helbig, Vol. I, p. 168, fig. 122; and a pair of that model is illustrated in Lavino, p. 67. Another similar pair marked LPK for De Porceleyne Lampetkan (The Porcelain Ewer) Factory, circa 1760-80, is illustrated in Aronson 2007, no. 59.

Provenance: The Ivan B. Hart Collection, Monte Carlo, number 214 Note: These models were intended to depict horses in their most ceremonial trappings, as each has a hole pierced between his 79

45. Pair of Polychrome Oval Butter Tubs and SwanForm Covers Delft, circa 1765-75 Heights: 14 and 14.3 cm. (5 1/2 and 5 5/8 in.)

Each tub with an iron-red-dotted ground molded on either side with a blue vine bearing iron-red and yellow blossoms and buds and green and manganese leaves, and on the ends with a blue and green floral sprig beneath the green serpentine edge, and the cover formed as a white swan with molded plumage, an orange beak, blue eyes and a manganese ring at the base of the neck, modeled swimming on green water.

Provenance: The F. Rattigan Collection, sold at Frederik Muller in Amsterdam, April 26-29, 1910, lot 367; The Ivan B. Hart Collection, Monte Carlo, number 203

Similar examples: A swan-covered butter tub marked for De Porceleyne Byl (The Porcelain Axe) Factory and decorated with fish is illustrated in Van Aken-Fehmers 2012, pp. 68-69, pl. 35 (center); and in Van Aken-Fehmers 2001, p. 234, no.

60, along with two swan-form covers on which the birdâ&#x20AC;&#x2122;s wing are raised. A pair of that model similarly decorated is illustrated in Van der Vorm 2010, p. 21. Three further pairs of that model are illustrated in Lavino, p. 62 (bottom, left), p. 63 (top) and p. 64 (second shelf). 81

46. Pair of Polychrome Oval Butter Tubs and Recumbent Stag Covers Delft, circa 1760-75 Each tub molded on either side with a spray of yellow, iron-red and blue blossoms and blue-outlined green leaves against a green ground, and painted on the ends with blue plants bearing iron-red buds, and the covers with a brown-streaked grey stag with blue eyes and nostrils, brown antlers and manganese hooves, modeled affrontĂŠ and at lodge amidst blue-outlined green foliage.

Heights: 14.8 and 15.1 cm. (5 13/16 and 5 15/16 in.) Provenance: The Bernard Stodel Collection; The Ivan B. Hart Collection, Monte Carlo, number 213 Similar examples: A pair of butter tubs of these models marked for De Porceleyne Byl (The Porcelain Axe) Factory, is illustrated in 38e Oude Kunst- en Antiekbeurs, 1986, p. 112, the Aronson Collection; in Aronson 1987, ill. 13; and in Aronson 2003, p. 41, no. 38.

47.Polychrome Figure of a Seated Lady Delft, circa 1750-60 Marked with a claw and numeral 3 in manganese for De Klaauw (The Claw) Factory Possibly allegorical of ‘Summer’ from a set of ‘The Four Seasons,’ wearing a blue broadbrimmed hat on her manganese hair, a green bodice with a blue stomacher above an aubergine skirt revealing one yellow shoe, modeled seated on a blue, iron-red and yellow marbleized rock, leaning against a sheaf of yellow wheat, and holding a carrot in her right hand and three fruits her left hand, on a green stepped oval base. Height: 13.4 cm. (5 1/4 in.) Provenance: The Ivan B. Hart Collection, Monte Carlo, number 219 48.Polychrome Figural Salt Cellar Delft, circa 1750-60 Modeled as a young woman with manganese hair and facial features, wearing a bead necklace, a yellow-edged manganese décolleté bodice decorated with yellow and pale blue flowers and leaves, and a blue-shaded yellow skirt patterned with manganese floral sprigs and oeils-de-perdrix, one manganese shoe revealed beneath the hem, seated on a brown rocky mound supporting under her right arm a rocaillerie-edged oval dish with manganese, yellow and blue scalloped borders, her left hand clasping the edge of a yellow wicker oval basket decorated in the center with a manganese and yellow floral sprig, the low conforminglyshaped base decorated on the top with manganese caillouté above yellow and blue bands around the rounded edge. Height: 12.5 cm. (4 15/16 in.); width 17.8 cm. (7 in.) Provenance: The Dooyes Collection, sold at Sotheby’s in Amsterdam on May 31, 1988; A Staal Antiquaire, Amsterdam; The Ivan B. Hart Collection, Monte Carlo, number 220 Similar examples: A pair of figural salt cellars marked A/ IH in iron-red, and formed as a lady and a gentleman seated between two similarly shaped dishes, the lady in the same semi-reclining position as the present figure, is in the Musée Adrien Dubouché, Limoges, illustrated in Lahaussois 2008, p. 167, pl. 6. Another pair of those models is illustrated in Lunsingh Scheurleer 1984, p. 204, pl. 66.

49. Pair of Polychrome Oval Butter Tubs and Recumbent Goat Covers Delft, circa 1765-74 no. 77; and a single example of similar shape to the left goat of the present pair, marked for the Drie Posteleyne Astonne (Three Porcelain Ash-Barrels) Factory, circa 1760-85, in the collection of the Gemeentemuseum, The Hague, is illustrated by Van Aken-Fehmers 2001, p. 220, no. 54; and Van Aken-Fehmers 2012, p. 68, pl. 35 (top, left). Whereas the painting on those three examples ignores the relief molding of the tub, another pair of butter tubs of similar form, surmounted by white goats, does highlight the molded flowering branches in colors. This latter pair, marked for Albertus Kiell of De Witte Ster (The White Star) Factory (1762-74), is illustrated in Aronson 2009, p. 108, no. 70.

Marked AK on the tubs and AK* on the cover interiors in blue for Albertus Kiell, the owner of De Witte Ster (The White Star) Factory from 1762 to 1774 Each tub molded with blue-dashed green branches of iron-red, yellow and blue blossoms and green leaves repeated on the domed covers surrounding a recumbent goat modeled affrontĂŠ with a manganese-striated wooly coat. Heights: 14.3 and 14.6 cm. (5 5/8 and 5 3/4 in.); length: 11.7 cm. (4 5/8 in.)

A pair of low oval butter tubs with scalloped rims and similarly shaped covers with manganese goats, marked for Anthonij Pennis at De Twee Scheepjes (The Two Ships) Factory (1750-82), is illustrated in Aronson 2007, p. 67, no. 51. The goats on the covers of another pair of butter tubs with scalloped rims are even surmounted by a girl and a boy seated on their backs. This pair, circa 1760-70, marked for De Lampetkan (The Ewer) Factory, is illustrated ibid., pp. 68-69, no. 52.

Provenance: The F. Rattigan Collection, sold at Frederik Muller in Amsterdam, April 26-29, 1910, lot 368; The Ivan B. Hart Collection, Monte Carlo, number 209 Similar examples: It is apparent from marked examples of these models that they were produced and variously decorated by multiple Delft factories in the 1760s and 1770s. An unmarked pair of these models is illustrated in Aronson 2010, p. 131, 86

50. Pair of Polychrome Figures of Roosters Delft, circa 1750-60

Heights: 21 and 21.6 cm. (8 1/4 and 8 1/2 in.)

that model, marked LVE for Lambertus van Eenhoorn, the owner of De Metaale Pot (The Metal Pot) Factory from 1691 to 1721, is illustrated by De Jonge 1970, p. 56, ill. 51, who also illustrates a pair of ‘Black Delft’ roosters of that model, unmarked but attributed to Lambertus van Eenhoorn, p. 98, ill. 98, where the author notes that they were used as oil and vinegar cruets, their combs forming the stoppers. A further example of that model in the Gemeentemuseum, The Hague, is illustrated by Fourest 1980, p. 163, pl. 159.

Provenance: The Madame C. Alberge-Looman Collection, The Hague, sold at Frederik Muller, Amsterdam, November 9-12, 1954, lot 247; A. Vecht, Rokin 30, Amsterdam; The Ivan B. Hart Collection, Monte Carlo, number 211

A pair of smaller roosters (14 cm. [5 1/2 in.] of the model with the more erect tail, marked ITD and attributed to Jan Teunis Dextra, the owner of De Grieksche A (The Greek A) Factory from 1757 to 1765, is in the Rijksmuseum, Amsterdam, illustrated in Frégnac 1976, p. 247, pl. 373; and in De Jonge 1970, p. 132, ill. 137.

Each with a manganese head and neck, pale blue plumage on his body delineated in darker blue, a blue and ironred tail open at the back to form a vessel, blue, iron-red, manganese and yellow wings, blue eyes, a blue open beak revealing an iron-red tongue, iron-red wattles and comb, and blue legs with yellow spurs, modeled affronté, standing on a green conformingly-shaped base with a small green shrub as a support.

Exhibited: Amsterdam, Rijksmuseum, Tentoonstelling van Oude Kunst 1929, no. 450 Note: Roosters of this rare and robust model must have been taken from either a late seventeenth-century Japanese Arita porcelain example or a Dehua blanc-de-Chine figure original of circa 1700, an example of which, in the Groninger Museum, Groningen (inv. 1948-147) is illustrated by Jörg 1983, p. 93, no. 50, who on p. 185, no. 140, also illustrates a Delft polychrome counterpart of that same early date in the Rijksmuseum, Amsterdam (inv. 1975-90). Given the extensive trade by the Dutch East India Company (V.O.C.) with both Japan and China at this time, it is possible that either model served as the prototype for the present cockerel, but the decoration is most likely to have been inspired by the early Chinese famille rose porcelains of the Yongzheng period (1723-35). To achieve this delicate palette on tinglazed earthenware, the enamels and gilding had to be fired at a lower temperature in a ‘muffle kiln’, and are referred to as ‘petit feu.’ Similar examples: A rooster of this size and date, but with a tail modeled downward rather than upward as on the present pair, is illustrated by Van Dam 2004, p. 170, pl. 112, who suggests that its “Chinese counterpart arrived in Europe in unpainted white, and was painted cold [unfired] with oil paint.” That more prevalent model appears to have been made by a number of Delft potteries over a period of at least two decades. A pair of polychrome roosters of

51. Blue and White Rectangular Plaque of ‘A Young Woman Ruffling’ Rotterdam, circa 1740-50 Painted after Geertruydt Roghman with a lady seated and sewing before a cloth-covered table on which are placed books and letters, an elaborate brass shelf clock suspended from the double window above between marbleized columns rising against the wall from the tiled floor below; the reverse unglazed. Size: 25.3 x 22 cm. (10 x 8 11/16 in.) Provenance: Aronson Antiquairs, Amsterdam; An American private collection Literature: Aronson, Dutch Delftware, Amsterdam 2005, p. 52, fig. 2 Note: The decoration on this plaque is taken directly from an engraving of ‘A Woman Ruffling’ (fig. 1) by Geertruydt Roghman (1625-1651/57), from a series of five feminine occupations or ‘Women at Domestic Chores’, dating to circa 1648-50, and including scenes of ‘Two Women Sewing’, a ‘Woman Ruffling’, a Woman Cooking’, a ‘Woman Spinning, with Girl’ and a ‘Woman Cleaning Kitchen Utensils’; see Hollstein (Amsterdam 1949...), Vol. XX (1978), pp. 54-55, nos. 2-6; and Westermann 2001, pp. 192-193, no. 78, ills. 1-5, who illustrates the source print for the present plaque on p. 192 as no. 2 in the series, but misidentifies the subject as a ‘Woman Reading’ based on the books on the table rather than on the piece of cloth in her hands. On p. 193 Westermann comments that “Roghman’s prints of women at chores are unusual for their early date and for the rarity of the subject in prints, no matter how common in painting.... There is no suggestion of the moral ambiguity imputed to so many women in thematically related paintings: conventional signs of moral obligation such as the distaff [in the ‘Woman Spinning’ print, or the] skull and clock [in the ‘Woman Ruffling’ print] underscore the utter seriousness with which these women take their duties. Rather than symbols of moral obligation, however, it is possible that the skull and scroll on the floor to the woman’s left, combined with the clock whose hands read half past twelve, are a reference to the transience of life, adding a peculiarly melancholy tone to an otherwise serene domestic scene.

Fig. 1. Geertruydt Roghman, A Woman Ruffling. 20.6 x 16.8 cm. (8 1/8 x 6 5/8 in.), inv. no. RP-P-OB-4229. © Rijksmuseum, Amsterdam

52. Polychrome Shaped Oval Plaque Delft, circa 1735-45 Painted in a full â&#x20AC;&#x2DC;grand feuâ&#x20AC;&#x2122; palette in the center with two winged insects flying toward a lush floral arrangement in an elaborate two-handled urn set on a cloth patterned with iron-red trelliswork within a yellow blossom and blue foliate-scroll border, and partially concealing a foliate-cabriole-legged table with a yellow top decorated with iron-red small tea vessels and further supporting a blue flower-filled vase, on the ground to the right a steaming pot, and to the left a jardiniĂ¨re-on-stand issuing trailing prunus branches, all within a somewhat conformingly-shaped panel bordered in a flowering vine and tight scrolls on an iron-red ground; the self-molded frame with an inner border of iron-red trellis diaperwork reserved with twelve floral panels, an outer border of scrolls and blue-veined leaves, and pierced at the top with two holes for suspension; the reverse glazed. Size: 42.5 (16 3/4 in.)

53. ‘Petit Feu’ Polychrome and Gilded Biblical Shaped Square Tray Delft, circa 1755-65 (referred to as “the other disciple whom Jesus loved”), who venture into the tomb, and confirming that Jesus is not there, they return to the other disciples. While weeping outside the tomb, Mary sees two angels sitting where Jesus’s body had lain, and she laments to them that her Lord’s body has been removed and she does not know where it has been taken. At that moment, Jesus appears, and thinking He is the gardener, she repeats her lament to Him, to which He replies, “Mary, touch me not for I have not yet ascended to my Father, but go to my brethren [disciples] and say to them that I ascend unto my Father and, and your Father and to my God and your God.” Mary did as told, and the following day Jesus appeared to his disciples, saying, “Peace be unto you; as my Father has sent me, even so send I you... Receive ye the Holy Spirit. Whoever’s sins you forgive, they will be forgiven; but whose sins you do not forgive, they will remain unforgiven.” But Thomas was not among the disciples at this time, and he doubted they had seen and heard Jesus. Eight days later they reassembled and Jesus invited the “Doubting Thomas” to touch Him and to believe, and as Thomas did so, Jesus said to him, “Because thou hast seen me, thou hast believed: blessed are they that have not seen, and yet have believed.”

Painted with vignettes from the Death and Resurrection of Christ, depicting an angel above two disciples (Simon Peter and another) watching a third person remove the stone from the cave beneath Christ (?) with wings holding a gold pennant and rising in radiance through the clouds, in the foreground a woman bearing a vessel and walking toward two others: one probably Mary Magdalene, kneeling before Christ, while behind him three figures stand in radiance, all in a grassy landscape reserved at the bottom with a gilt inscription IOHANNIS 20, the scalloped and bracketed rim with an inner ironred double-line border, and the underside raised on four conformingly shaped low bracket feet; drilled later with a hole for suspension. Size: 23.1 x 22.9 cm. (9 1/8 x 9 in.) Provenance: Aronson Antiquairs, Amsterdam; A Belgian private collection Note: In the New Testament, the Gospel of John, Chapter 20 is long and somewhat complicated, recounting the story of Jesus’s rising from the tomb, His encounters with Mary Magdalene and His disciples, and finally His instructions to the disciples. But it is difficult to relate the words and the various passages to their supposed depiction on this plaque. The chapter begins with Mary Magdalene going to the tomb early on Sunday and discovering that the stone had been rolled away from its entrance. Alarmed, she runs to Simon Peter and an unnamed disciple

To relate the story to the tray, it seems clear that the vignette in the left distance depicts the tomb, but is the winged figure beneath the radiance one of the two angels or Christ ascending to heaven? And does the vignette in the right distance depict the disciples receiving the Holy Spirit and the admonition about forgiveness from Jesus? Perhaps most puzzling is the identity of the 94

three figures in the center near Jesus, who appears to be blessing them. If it weren’t for the fact that only Mary Magdalene appears in John Chapter 20, it might be supposed that they are the so-called “Three Marys”, who earlier in John (Chapter 19, verse 25) are mentioned as having been present at the Crucifixion: Mary the Mother of Christ, her sister Mary the wife of Cleophas, and Mary Magdalene, although in Mark (Chapter 16 verse 1), they are identified as Mary Magdalene, Mary the mother of James, and Mary Salome. Given their androgynous clothing, however, perhaps these three figures represent Mary Magdalene kneeling in the foreground, Simon Peter and the other “loved disciple.”

Note: The model of these Delft slippers is taken from seventeenth-century mules or trippen. The Dutch name trippen in the seventeenth century described a mule with an upturned toe and a linen or hemp canvas vamp embroidered in colorful silk or wool with a decorative pattern. At this time no distinction was made in the model between the left and right foot. From the late seventeenth century onwards, various models of slippers and shoes were produced in Dutch Delftware, ranging from blue and white to polychrome and ‘petit feu’ examples. Possibly they were intended as wedding gifts, as suggested by the pair of Frisian wooden ‘bruidsklompjes’ (‘wedding clogs’) illustrated in exh. cat., Kent, en versint, Eer datje mint, vrijen en trouwen 1500-1800 (Historisch Museum Marialust, Zwolle/Apeldoorn 1989), p. 165, ill. 194.

Another point of speculation is the original function of this tray, which, judging from its religious subject and modest size, might have been ordered for ecclesiastical use, perhaps for the vessels of consecrated wine and water and the paten for the bread during a service of the Eucharist or Holy Communion in which contrition and forgiveness are a significant aspect of the rite, and represent the gift that God offers to us in Christ through the power of the Holy Spirit.

Models of shoes were produced also in French and German faience, examples of which are illustrated by H. Lungagnini, Fayence des Ostseeraumes, Sammlung Axel Springer (Schleswig 1998), pp. 358-361, nos. 691-699. Savafid ceramic shoes circa 1694-1738, modeled probably after Dutch faience examples, are illustrated by Y. Crowe, Persia and China, Safavid blue and white ceramics in the Victoria and Albert Museum 1501-1738, (London 2002), pp. 283-287, nos. 528-535.

54. Pair of Polychrome Slippers Delft, circa 1740-60 Each covered in a very pale blue glaze, the front with a blue-dotted ground superimposed with a yellow vine bearing large and small iron-red blossoms and green leaves above a manganese-edged sole bordered in a band of blue scallops continuing around the arch and edges of the heel.

Pairs of similarly shaped Delft mules with various types of decoration are illustrated in Aronson 2005, p. 52, no. 50; Aronson 2008, p. 60, no. 37; and Aronson 2010, pp. 108 and 109, nos. 58 and 59.

Length: 11.9 cm. (4 11/16 in.) 95

55. Blue and White Model of a Sleigh Delft, circa 1760-80 Marked with a claw / 2 in blue for De Klaauw (The Claw) Factory seventeenth and early eighteenth centuries, this type with floral patterns is dated stylistically to the second half of the eighteenth century (for examples dated 1732, see Van Aken-Fehmers 1999, p. 255, no. 97; and Helbig, Vol. II, p. 30, ill. 16).

Painted on either side with a cottage between trees within a quatrefoil panel issuing tall flowering branches conforming to the scrolling edges, the front with a skater bearing a satchel on his back and supporting on his shoulder a long crook, the reverse with a skater supporting a tall pick, and the interior seat painted with a small tasseled cushion.

Similar examples: A sleigh of almost identical form and similar decoration in the MusĂŠe des Arts DĂŠcoratifs, Paris, is illustrated by Lahaussois 1994, p. 143, no. 190; and Fourest 1980, p. 149, no. 147. Two polychrome sleighs from the period are illustrated in Aronson 2009, pp. 88-89, no. 56; and Lavino, p. 9. A further example with gilding is illustrated in Boyazoglu, De Neuville 1980, p. 215, ill. 26.

Height: 10 cm. (3 7/8 in.); length: 12.4 cm (4 7/8 in.) Note: This ornamental object is modeled in the shape of an ice sleigh of the type that provided a lady with a comfortable pleasure ride on the ice, while propelled by a skating gentleman. An example of this shape can be seen on a penny print illustrated in Aronson 2009, p. 89, and two simplified examples are illustrated on a blue and white plaque depicting a winter canal scene, illustrated in Aronson 2010, p. 111, no. 61. Although blue and white Delftware models of sleighs were being made by the late

56. Blue and White Chamfered Square Plaque Delft, circa 1740-60 Painted with a bewigged gentleman wearing an apron over knee breeches, his right hand tucked into his coat, his left hand holding his hat, and looking away from the lady on his left wearing a dotted bodice and an apron over her skirt, holding an infant in a dotted robe, and standing on the tiled floor, above their heads a tasseled and draped casement window, the self-molded frame with a blue-ground border of leaves and scrolls and pierced at the top with two holes for suspension; the reverse glazed. Square: 20.2 x 20.5 cm. (7 15/16 x 8 1/8 in.) Provenance: The H. C. van Vliet Collection, Amsterdam, number 2376 97

57. Blue and White Chamfered Square Plaque Delft, circa 1750-60 Painted with a lady peeping through a window at a couple seated in chairs, the man wearing a plumed cap and holding in his right hand a roemer with a trailing lemon peel and in his left hand a smoking pipe, his sweetheart wearing a décolleté bodice and flowered skirt, her left hand on his left hip, a dog sleeping at their feet on the tiled floor, to the left two bottles before a table with cut lemons and a knife, to the right a young man waves from a door beneath a casement window, and above the couple two shipping pictures and an oval mirror hang on the wall, the self-molded frame with a foliate-scroll border and pierced at the top with two holes for suspension; the reverse glazed.

Flemish still life paintings is elusive. In medieval art, the lemon or lemon tree represented fidelity in love, a theme echoed by the sleeping dog. But the peeled lemon might mean quite the opposite. It also has been associated with casual excess – a warning that life is both sweet and sour; but equally, it might represent the unraveling of time and the acceleration of decay. In the still life paintings, it may have been less allegorical and moralizing than an indication of substance and wealth (lemons being scarce in Northern Europe), or even a demonstration of the artist’s virtuosity at painting different textures: the succulent fruit and its granular outer and spongy inner skin against the transparent and reflective glass of the roemer, itself dichotomous, both as a symbol of worldly delights while being a reference to the Christian Cup of Salvation. The knife by the cut lemons on the table represents the transience of life, or in this instance, the transience of the encounter. The ship paintings on the wall could represent both wealth and escape. And the mirror, one of the oldest symbols in art and literature, can represent both the reflection of our spiritual and physical selves and our world in reverse image, or it can represent pride, vanity, or wisdom and enlightenment, but always with the knowledge that it does not reveal the perfect truth.

Square: 24.5 cm. (9 5/8 in.) Provenance: A private collection, Düsseldorf; Sold at Van Stockum, The Hague, 1986; A Dutch private collection. Note: The scene on this plaque, most likely taken from one or more as yet unidentified prints, seems to be rife with symbolism, possibly unbeknownst to the painter, as the metaphors appear to have been somewhat mixed. The subject is very likely a brothel scene with the “madam” at the window observing the prostitute and her customer, while a prior or future customer waves from the doorway. The roemer with the trailing lemon peel, a subject that appears frequently in seventeenth-century Dutch and

58. ‘Petit Feu’ Polychrome and Gilded Bakery Plate Delft, circa 1740 Painted with a scene of a baker transferring loaves of bread from a table beneath a gilt scale to his stone and brick oven while his assistant tramples ingredients on a table to the right, the rim with an elaborate Chinese export-style border of iron-red peony blossoms and green foliate scrolls against iron-red stippled panels alternating with gilt scroll-edged panels of iron-red whorls interrupted by gilt-centered manganese blossoms, all issuing smaller floral sprigs and buds. Diameter: 22 cm. (8 11/16 in.) Provenance: Sold at Mak van Waay in Amsterdam on October 15, 1963, lot 871; Aronson Antiquairs, Amsterdam, 1994; A distinguished Manhattan private collection Note: The scene on this dish is painted after the drawing of the ‘Backer’ (‘Baker’, fig. 1) by Leonaert Bramer (15961674) from his ‘Straatwerken’ (‘Street Works’) series of circa 1650-55, comprising 66 drawings illustrating a variety of peddlers and artisans. The complete series is illustrated and discussed by D.R. Barnes and J. ten Brink Goldsmith, Street scenes: Leonard Bramer’s drawings of 17th-century Dutch daily life, Hempstead (New York, Hofstra Museum), 1991. Leonaert Bramer was a successful painter and draughtsman, who after a period in Italy (1616-27), returned to the Netherlands and worked in his home town of Delft from 1628 onwards. One of the high points in his career was a commission in 1661 for the ceiling paintings of the new St. Luke’s Guild Hall in Delft. The majority of his drawings belong to illustrative sets based on the Old and New Testament, on classical literature such as Virgil’s Aeneid, Plutarch’s Life of Alexander the Great, Livy’s History of Rome, Ovid’s Metamorphoses, or on popular contemporary works such as Till Eulenspiegel or the Spanish novel Lazarillo de Tormes (Barnes and Ten Brink Goldsmith, op. cit., pp. 5, 7). The ‘Straatwerken’ series, however, is not based on a literary source, but “seems related to the artistic tradition of a book of trades” (ibid., p. 8), of which the Ständebuch (Book of Trades) of 1568 with woodcuts by Jost Amman was one of the most influential. Some of Bramer’s drawings, including the ‘Baker’, were directly inspired by a series of eighteen etchings of craftsmen dating to 1635 by Jan Gillisz. van Vliet (1600/10-1668).

drawings were ever translated into the print medium…” (Barnes and Ten Brink Goldsmith, op. cit., p. 5). Nevertheless, about fifteen other pieces of Delftware decorated after Bramer have been identified by Michiel Plomp in his article “Leonaert Bramer (1596-1674) als ontwerper van decoratie op Delfts aardewerk” (“Leonaert Bramer as a designer of decorations on Delft ceramics”) in Oud Holland, 113 (1999) 4, pp. 197-216. These mainly consist of early blue and white dishes with religious scenes, dating from circa 1630 to 1660, but one polychrome dish in the collection of the Musée des Arts Décoratifs, Paris (inv. no. 23373), is dated 1783. Both Plomp (p. 198) and Ten Brink Goldsmith (p. 5) have noted that the inscription, “voor ADCooge” (“for AD Cooge”) on the title page of the Lazarillo de Tormes drawings could provide a link to the Bramer scenes found on Delftware. Besides being a painter, engraver and art dealer, Abraham de Cooge was the co-owner of De Dissel (The Pole) Factory in Delft from 1645, and master potter and full owner from 1666 to 1683. It is possible that De Cooge and other faience-makers in Delft commissioned Bramer, who also made tapestry designs, to supply them with drawings to be turned into stencils. However, of the 66 drawings of the ‘Straatwerken’, the ‘Baker’ is the only one currently known to have been used on Delftware. So nearly a century after the ‘Baker’ design was drawn originally, how or why it alone appeared on a Delft dish without an intermediate print, remains puzzling. Similar examples: A ‘petit feu’ polychrome and gilded plate painted with the identical ‘Baker’ scene but with a different border on the rim and with a blue fret mark is illustrated in Aronson 2006, p. 55, no. 40. Another similar dish from the collection of E. Verveer, Paris, was sold at Frederik Muller & Cie in Amsterdam on May 13, 1924, lot 475.

It is remarkable to find the image of a Bramer drawing on Delftware since “none of Bramer’s sets of illustrative

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Fig. 1 Leonaert Bramer, Backer (Baker), no. 24, drawing, circa 1650-55, 20 x 16 cm. (7 7/8 x 6 5/16 in.) © Prentenkabinet der Rijksuniversiteit Leiden, inv. no. PK 3605 031

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59. Polychrome Commedia dell’Arte Figure of Mezzetin with a Viola da Gamba Delft, circa 1740 Wearing a manganese-shaded voluminous beret, ruffled collar, jacket and breeches, his yellow-cuffed and belted jacket patterned with yellow, blue and green floral sprigs and concealed at the back under a yellow-lined cape striped in pale manganese, green and yellow, his manganese shoes with yellow bows, and modeled smiling broadly, holding a yellow viola da gamba in his left hand, a blue bow in his right, and striding across a rounded square base edged in yellow and pale manganese. Height: 24.8 cm. (5 3/4 in.) Provenance: Sold at Paul Brandt, Amsterdam on November 25-28, 1969, lot 776; An anonymous private collection, sold at Sotheby’s in Amsterdam on September 19, 2000, lot 736; Stodel Antiquités, Amsterdam; Aronson Antiquairs, Amsterdam, September 9, 2009; The Patricia and Rodes Hart Collection, Tennessee

Note: Mezzetin, like so many of his fellow Italian Comedians, was a servant, a rascal, a gambler and a deceitful troublemaker, but he was also “a gifted and sensitive musician,” who is occasionally depicted in both prints and ceramic representations playing a guitar, or less frequently a lute; see M. Chilton, Harlequin Unmasked, The Commedia dell’Arte and Porcelain Sculpture, Toronto (The George R. Gardiner Museum of Ceramic Art) 2001, pp. 97-100, who discusses the character and illustrates on p. 99, fig. 157, a late seventeenth-century engraving by Nicolas Bonnart of a related character: “Flautin Playing the Guitar,” which in its shape is very similar to the present viola da gamba. Rare as it is to find an Italian Comedy figure in Dutch Delft, it is extremely unusual to find Mezzetin represented in any form of ceramics with a viola da gamba. Although it was a popular solo instrument, it is most likely that in this instance the figure was a special order for a customer with a particular taste for the music of this resonant stringed instrument.

Literature: Christine Lahaussois (editor), Delfts Aardewerk, Paris, 2008, p. 168 (illustrated only); Birte Abraham, Commedia dell’Arte: The Patricia & Rodes Hart Collection of European porcelain and faience, Amsterdam, 2010, pp. 186-187

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60. Blue and White Rococo Hot Water Kettle, Cover, Stand and Covered Spirit Burner Delft, circa 1765 The kettle marked GVS for Geertruij Verstelle, the owner of Het Oude Moriaanshooft (The Old Moor’s Head) Factory from 1761 to 1769 The pear-shaped pot spirally fluted and painted with fashionable couples in a landscape with distant buildings, on one side the gentleman playing a flute and the lady playing a lute, and on the other the gentleman holding a shepherd’s houlette and dancing with his sweetheart, each scene within a panel edged in rococo scrollwork and alternating at the front with a panel of blossoms and circlets against a dotted ground interrupted by the scrollmolded and ‘shell’-painted spout, and on the reverse with two peony blossoms in a trellis diaper-patterned panel interrupted by the foliate base of the S-scroll supported overhead handle, the rim encircled by six lightly molded leaves; the covers of the pot and spirit burner painted with three floral sprigs alternating with three molded leaves encircling the tulip blossom knop and the heat aperture, the burner bowl with larger sprigs on the front

and reverse and four small foliate sprigs on either side; and the stand molded around the upper ring with leaves echoing those on the pot rim, and raised on three S-scroll legs supporting the central burner ring and terminating in pad feet. Height of kettle: 23.5 cm. (9 1/4 in.); height overall: 33.3 cm. (13 1/8 in.) Provenance: The collection of Dorothy Eugenia Miner (1908-73), Medievalist and Curator of Manuscripts at the Walters Art Museum, Baltimore, Maryland; The collection of Jeroen P. M. Hartgers, Haarlem/ Antwerp

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Note: The design for this hot water kettle and its warming stand most likely derives from a silver or pewter example, and it is typical of the style of kettle that was being produced by prestigious silversmiths in the 1750s and 1760s, both in Amsterdam and The Hague (see exh. cat. Amsterdam, 2001, p. 143, no. 62, for a silver kettle and warming stand attributed to Matthijs Craayenschot, Amsterdam, 1765 (fig.1.); and see Lunsingh Scheurleer 1984, pp. 63-64, and ills. 103-105, for a short discussion of the various models). These kettles became very fashionable in the Netherlands in the beginning of the eighteenth century because with the rapid popularization of tea drinking, hot water was needed at the tea table to dilute the strong infusion, which usually was brewed in the typical small earthenware teapots made either of Chinese Yixing red stoneware, or their Dutch ‘red Delft’ counterparts (see A.-M. Adriaensens, Driemaal Exotisch Drinken: Cacao, Thee en Koffie, Antwerp, 1993, p. 12, for a comprehensive note on the use of the hot water kettle or bouilloire). Sometimes, the boiling water was the task of a maid servant, who had to keep the water hot on the open fire in the kitchen, and at a sign from her mistress, appear and discreetly fill the teapot and cups, as described by Dr. Cornelis Dekker (1647-1685), better known as Bontekoe, Gebruik en misbruik van thee, 1686, p. 92 (cited in exh. cat. Thema thee. De geschiedenis van thee en het theegebruik in Nederland, Museum Boijmans van Beuningen, Rotterdam, 1978, p. 33): “volhardende, soo lang de Thee aan’t water smaak en coleur geve, doch men moet niet vergeten, dat het water geduirig heet moet zijn” (“continuing to do this, as long as the tea supplied taste and color to the water; but it must not be forgotten that the water always has to be hot”). Eventually for practicality as well as for prestige, it became more customary to have a bouilloire placed beside the tea table on a special guéridon (see the exh. cat. Rotterdam 1978, p. 32). A plaque in the Historisch Museum Arnhem depicting a lady taking tea and seated beside such a side table with a large bouilloire is inscribed with a little poem relating to the often-criticized consumption of sugar at tea time:

“Kom juffrouw drinkt nu met mij mee, ‘k heb allberbeste groene thee; Zij schenkt niet ros, maar helder klaar, als of zij voor een koning waar; Toe zetje neer en neemt daarbij; een lekker klontje pot kandij.” (“Come my miss and drink with me, I have the very best green tea; It does not pour a turbid pot, but fit for kings, it’s clear and hot; So do sit down, the tea is dandy with a little lump of candy.”) In his 1678 Tractaat van het exellentste kruid thee (Treatise on the most excellent herb, tea), the aforementioned Dr. Bontekoe, strongly advised against the use of copper kettles. According to his theories, “scherpe deeltjes” (“small sharp particles”) could be washed out of the copper and cause nausea (see Adriaensens 1993, op. cit., p. 12). Accordingly, silver, pewter or ceramic kettles became the recommended alternatives. Although far rarer and more decorative than the metal examples, faience kettles proved incapable of withstanding the heat of the boiling water over time, so although their original purpose may

Fig.1. Mathijs Crayenschot, A silver Louis XV bouilloir, circa 1765, Height: 35,5 cm. (14 in.) in an advertisement of Van Ravenstein Antiquairs, Haarlem, Antiek magazine, October 1980

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have become obsolete, the possibility cannot be ruled out that eventually these Delftware kettles were produced as ornamental accoutrements to a well appointed tea salon. Ultimately, the elaborately designed and costly silver kettles became the most desirable vessels for use at the tea table, not only for their practicality and durability, but also for prestige in the display of the hostess’s taste and wealth. Even they, however, became nearly obsolete, when, at the end of the nineteenth century, tea-drinking customs in the Netherlands changed, and tea was brewed in and directly poured from larger teapots following what had become the less formal English tradition (exh. cat. Rotterdam 1978, p. 33). Similar examples: A covered kettle and stand of this model, similarly marked and painted with St. John the Evangelist in a landscape, surely executed by the same hand as the present kettle, are illustrated in Van Dam 2004, p. 181, pl. 127; in De Jonge 1965, pl. XX; in De Jonge 1970, pl. XIX; in Lunsingh Scheurleer 1984, p. 218, no. 104 (who also illustrates two kettles and stands of different shapes, p. 218, no. 103 and p. 219, no. 105); and in exh.

cat. Amsterdam 2001, p. 249, no. 145. The model must have been a great success and treated with considerable reverence, as examples survive in the Victoria and Albert Museum in London, the Metropolitan Museum in New York and the State Hermitage Museum in St. Petersburg. A complete example painted with shepherdess scenes is in the Evenepoel Collection at the Musées Royaux d’Art et d’Histoire, Brussels, illustrated in Helbig, Vol. I, p. 166, fig. 121; and in Lunsingh Scheurleer 1975, no. 122. Another with floral decoration, marked CBS for Cornelis Gousette of Het Jonge Moriaanshooft (The Young Moor’s Head) Factory, circa 1764-72, and lacking its stand and burner, is illustrated in Van Aken-Fehmers 1999, pp. 205 and 209, no. 76, where an earlier, complete example is illustrated in fig. 1; the same two examples are illustrated in Van Aken-Fehmers 2012, pp. 36 and 37, pl. 18. A further complete kettle and stand of this earlier form, dated 1744, is illustrated in Van Dam 1991, p. 87, no. 41; and in Hudig 1929, pp. 211-212, fig. 193. Another is illustrated in Aronson 2011, p. 87, no. 46.

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61. Garniture of Five Blue and White Chinoiserie Vases and Covers Delft, circa 1740-60 Marked LPK in blue for De Porceleyne Lampetkan (The Porcelain Ewer) Factory Comprising three ovoid vases and a pair of beakers, each octagonal and painted with a Chinese man waving a whip over the back of a spotted horse grazing beneath a flowering tree before a distant gazebo, each

scene within four or two panels separated by vertical ribs between fluted borders around the lower and upper body painted with blossoms on a ground of tendrils and repeated around the domed covers beneath the spotted kylin-and-scroll knop. Height: 32.1 cm. (12 5/8 in.)

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Similar examples: A garniture of these models but with a different chinoiserie scene is illustrated in Jรถrg 1983, p. 163, no, 118. A pair of vases of the same fluted octagonal ovoid shape, also from a garniture, and quite similarly decorated, is illustrated by Schaap 2003, p. 87. 109

62. Polychrome Chinoiserie Garniture of Five Vases and Covers Delft, circa 1760-75 Comprising three baluster-form vases with small covers and a pair of beaker-form vases with large covers; each piece of octagonal shape, the vases painted on the front with a Chinese youth reaching into a green â&#x20AC;&#x2DC;crackediceâ&#x20AC;&#x2122;-patterned baluster-form vase, and seated on the ground near a garden fence between two flowering tree

peonies, each with a sinuous branch extending around to the reverse, and on the baluster vases perched upon by a Chinese pheasant, the foreground with other flowers and rocks above an iron-red hatchwork border around the flaring foot, the neck of the baluster vases with ironred double-X, O and scroll devices, and the covers with

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flowering peony branches surrounding a blue seated kylin knop.

Provenance: Aronson Antiquairs, Amsterdam; The distinguished HIC collection, Belgium

Heights: 37.8 and 36.8 cm. (14 7/8 and 14 1/2 in.)

Literature: Aronson Antiquairs, Dutch Delftware, Amsterdam 1993, ill. 20 111

63. Polychrome Chinoiserie Plate Arnhem, circa 1760-65 Painted in grey-blue, lavender, green, yellow and brown with a large winged insect flying above a Chinese man walking with a parasol between a garden fence and a flowering plant on a grassy plateau, in the distance a fanciful pagoda flying a pennant beneath a large palm tree and partially concealed behind a large pierced rock, the lavender-edged scalloped rim with a floral spray and scattered foliate sprigs. Diameter: 25.1 cm. (9 7/8 in.) Note: Describing the culture of Arnhem in the mid eighteenth century, Ressing, pp. 10-11 writes, “The economic recovery in the Dutch Republic manifested firstly in the countryside, especially, around the provincial city of Arnhem, where the most important source of income was the trade in grain, crops and tobacco. Arnhem was the gateway to Germany and was an important crossroads for both land and waterways. The availability of clay, water and timber stimulated the ceramic activity in the surroundings of Arnhem, and towards the end of the seventeenth century their abundance encouraged the revival of a number of stoneware factories. Although there must have been several faience manufactories in the area before the middle of the eighteenth century, nothing relevant can be found

in the archives, and perhaps they were unnecessary because faience was amply available at the time – indeed, by the second quarter of the eighteenth century, an overproduction in Delft had already occurred. Nevertheless, during the economic recovery around 1755, initiatives were taken to create new factories elsewhere, and in 1759 in Arnhem, Johann van Kerckhoff founded a faience factory, which produced tin-glazed earthenware from 1759 till 1770. As its mark, the factory chose a rooster [which often is confused with the singing rooster mark of the late nineteenth-century Cantagalli factory in Florence, Italy]. Unable to compete with its well established Delft counterparts, in 1774 the factory was liquidated. Although the production lasted little more than a decade, it can be said that the Arnhem factory, had been the only manufacturer of faience during those years to develop a great variety in its table wares, with patterns and decoration ranging from the baroque to the rococo.” Similar examples: A plate of this shape, with similar chinoiserie decoration presumably by the same hand and in the same palette, is in the Musée de l’Hôtel Sandelin, Saint-Omer, illustrated in Ressing 2008, p. 78, pl. 73 and p. 163, no. 61, who also illustrates on p. 151, nos. 19 and 20, two covered tureens and stands with related chinoiserie decoration, the first marked with the Arnhem rooster in rose.

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64. Polychrome Figure of a Criminal Delft, circa 1770-80 Wearing a manganese tricorn hat with a yellow cockade, a blue-streaked coat with manganese buttons, a blue waistcoat and breeches, manganese shoes, and around his neck a collar of blue spikes above a placard on his chest inscribed dief en falsaris, (“thief and swindler”), and modeled standing, holding a brown walking stick and tethered to a stake at the back of a brown openstepped rectangular base with a barbed footrim. Height: 15.9 cm. (6 1/4 in.) Provenance: An anonymous private collection, sold at Sotheby’s in Amsterdam on September 19, 2000, lot 754; Aronson Antiquairs, Amsterdam; The Patricia and Rodes Hart Collection, Tennessee Note: This model appears to be unrecorded in the literature.

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65. Pair of Polychrome Cabbage Tureens, Covers and Stands Delft, circa 1755-65 Each tureen formed by two rows of green leaves naturalistically modeled with yellow ribs and veins and slightly mottled in blue and yellow, the domed covers formed as two overlapping leaves, and the stands modeled on the exterior as six overlapping leaves with slightly everted tips. Height of tureens: 10.2 cm. (4 in.); diameters of stands: 19 and 19.6 cm. (7 1/2 and 7 3/4 in.) Provenance: Aronson Antiquairs, Amsterdam; A private collection, Bussum, the Netherlands Literature: Aronson Antiquairs, Dutch Delftware, Amsterdam, 2000-01, ill. 39 Similar examples: A pair of similar cabbage tureens and stands is in the Musées Royaux d’Art et d’Histoire, Brussels, illustrated in Helbig, Vol. II, p. 70, no. 58.

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66. Pair of Polychrome Small Melon Tureens, Covers and Leaf-Shaped Stands Delft, circa 1750-60 Each marked with a leaf or a star device in blue on the interior of the tureen and cover Each lobed oval fruit naturalistically modeled and colored in shades of green with yellow stripes, the covers molded with three blue-veined green leaves issuing from a manganese gnarled stem forming the handle, and the mottled green stands veined in blue on the interior and exterior and raised on three peg feet. Lengths of tureens: 10.8 and 10.6 cm. (4 1/4 and 4 3/16 in.); stands: 15.5 and 15.3 cm. (6 1/8 and 6 in.) Provenance: Jas. A. Lewis & Son, Inc., New York; The collection of Mrs. Sidney F. Brody, Los Angeles (until 2010) Note: Melons were a greatly fancied fruit during the Baroque period, appearing frequently in seventeenth-century Dutch still life paintings. They also were savored as edible delicacies, appreciated not only for their intense aroma and supple flesh, but also for the medicinal properties attributed to them as a cure for fevers and as an antidote for inflammations of the kidneys, bladder and liver. Served as a dessert, the fruit was chopped into

pieces and seasoned with sugar or salt and pepper. A special delicacy was a tart of melon pieces covered in a pastry crust and baked in butter. When the ingredients were presented in a matching faience tureen, the culinary pleasure could only have been enhanced by the visual delight of the â&#x20AC;&#x2DC;trompe lâ&#x20AC;&#x2122;oeilâ&#x20AC;&#x2122; ceramic pun; see G.-D. Helke, Deckelterrinen des 18. Jahrhunderts (Munich 2007), p. 105. Similar examples: A similar pair of melon tureens, covers and stands is illustrated in Aronson 2009, pp. 86-87, no. 54; and another pair marked for Hendrik van Hoorn, the owner of the Drie Posteleyne Astonne (Three Porcelain Ash-Barrels) Factory from 1754 to 1808, in the Museum Boijmans van Beuningen, Rotterdam, is illustrated in Lunsingh Scheurleer 1984, p. 196, no. 47; and in Mees 1997, p. 168 (top). An unmarked pair of this small size, but with three short peg feet, suggesting that they might not have been intended to have the usual leaf-shaped stands, was in the Frits Philips Collection, Eindhoven, illustrated in Aronson 2008, p. 113; and in Van der Vorm 2010, p. 101. Among the various other melon tureen models known, a round version on a leaf-shaped stand, marked for De Porceleyne Byl (The Porcelain Axe) Factory, is in the Gemeentemuseum, The Hague, and is illustrated in Van Aken-Fehmers 2001, pp. 175 and 238, no. 64.

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67. Polychrome Armorial Plate Delft, circa 1757-65 Marked D/12 in blue possibly for Jan Teunis Dextra, the owner of De Grieksche A (The Greek A) Factory from 1757 to 1765 The center painted in shades of blue and in white, ironred, green and ochre with the coat of arms and dragonhead crest of Sir Whistler Webster, 2nd Baronet of Battle Abbey, Co. Sussex, and the rim with a border of five trellis diaper-patterned panels edged in scrolls and alternating with five baskets of flowers between leaf-scroll devices within a brown edge. Diameter: 22.6 cm. (8 7/8 in.) Note: The arms and crest are those of Webster, Baronets of Battle Abbey, Co. Sussex, whose baronetcy was created in 1703, but became extinct in 1923. From the date of this plate, it must have been made for Sir Whistler Webster, the 2nd Baronet and Member of Parliament for East Grinstead. Whistler Webster (1708-1779) was the eldest son of Thomas Webster (1676-1751), M.P. for East Grinstead, and his wife Jane Cheek (d. 1760), the granddaughter of Henry Whistler, an immensely wealthy merchant of London and Somerset, whose entire estate she inherited in 1719. Thomas Webster was created a Baronet by Queen Anne in 1703 and he bought Battle Abbey as his estate in 1719, the year of his wife’s vast inheritance. Their eldest son, Whistler, was returned as Member of Parliament for East Grinstead in the Election of 1741, a position he held for two decades until 1761, when he retired as an M.P., citing poor health. Sir Whistler had succeeded to the baronetcy on the death of his father in May 1751; and in 1766, at the relatively advanced age

of 58, he embarked for the first time on marriage, taking as his bride Martha, the 37-year-old daughter of the Very Reverend Dr Richard Nairn, Dean of Battle. The marriage produced no children, so upon Sir Whistler’s death in 1779, the baronetcy was inherited by his younger brother, Sir Godfrey Webster, 3rd Baronet (d. 1780). The dating of this plate is based largely on the coat of arms, which, when read heraldically reveals that it is the arms of a bachelor and of a baronet (indicated by the baronet’s badge of the ‘Red Hand of Ulster’ painted in the top left corner of the shield). As an elderly gentleman, failing in health, it is highly unlikely that Sir Thomas Webster, would have ordered a new and expensive dinner service for his household, decorated with a coat of arms that did not include his wife’s family arms. It is far more likely that the service was made for his son, Sir Whistler. Given that the arms are shown as for a baronet and a bachelor, the service would have to date from after 1751 when Sir Whistler inherited the title, but before 1766, when he married; and it can be reasonably supposed that the most likely time of manufacture would be either within the first few years of Sir Whistler having inherited his new title and estates, or possibly during his courtship of Miss Nairn, when he may have undertaken a certain amount of refurbishment of Battle Abbey to make his prospects more appealing. We are grateful to Mr. Brand Inglis for his assistance with this armorial identification. Similar examples: Twenty plates and dishes from this service are illustrated in Lunsingh Scheurleer 1984, p. 192, pl. 36; six plates are illustrated in Lavino, p. 74 (center); and a pair of 38 cm. (15 in.) octagonal platters is illustrated in Aronson 1987, ill. 20.

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68. Set of Four Blue and White Armorial Tobacco Jars and Brass Covers Delft, circa 1820 Marked with an incised IV on the unglazed footrims Each painted on the front with the crowned coat of arms of the city of Rotterdam between rampant regardant lion supporters above a banderole inscribed ‘T WAPE VAN ROTTERDAM within a roundel bordered in blossoms and hatchwork, surmounted by foliate swags, tobacco leaves and a windmill device, flanked by tobacco leaves and paraphernalia, and set on a bracket shaded in cross-hatching above a pair of leafy boughs enclosing the inscription Nº 1, Nº 2, Nº 3 or Nº 4; each with a brass domed cover.

Heights of jars: 25.4 to 26 cm. (10 to 10 1/4 in.); overall: 32.4 to 33 cm. (12 3/4 to 13 in.) Provenance: Stodel Antiquités, Amsterdam, number BD 83; The distinguished HIC collection, Belgium Note: The coat of arms was given by William I (c. 1286-1337), Count of Holland and Hainaut, to Rotterdam in thanks for the support of the lords of the Court of Wena in its fight

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against Flanders in 1304. The lions in the arms are the two red Dutch lions and the two black Hainaut lions, the golden lion supporters having been added in the sixteenth century. In 1948, to celebrate the bravery of the citizens of Rotterdam during World War II and their role in the liberation of their fatherland, Queen Wilhelmina (1880-1962, reigned 1890-1948) of the Netherlands presented the city with the motto “Sterker door strijd” (“Stronger through effort”), which has now been included on a banderole beneath the coat of arms. The city of Rotterdam, the second largest in the Netherlands, has been a major shipping port since the fourteenth century, well positioned for trade between

Holland, England and Germany. Although the port grew slowly, by the eighteenth century it had become the seat of one of the six ‘chambers’ of the Dutch East India Company (Vereenigde Oostindische Compagnie or VOC), and is now the largest port in Europe and after Shanghai, the second busiest in the world. Similar example: A tobacco jar with related decoration of the coat of arms of the city of Amsterdam above Nº 10 within leafy boughs, is illustrated in Lahaussois 2008, p. 197, fig. 4.

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69. Blue and White Topographical Tobacco Jar and a Brass Cover Delft, circa 1845 Marked with three bells in blue for De Drie Klokken (The Three Bells) Factory Painted on the front with strolling figures and a carriage before a classical building depicting the new Amsterdam Stock and Commodities Exchange and tall houses with smoking chimneys within a panel surmounted by symbols of state and inscribed DE NIEÚWE BEÚRS VAN AMSTERDAM above a narrower panel painted with a tobacco jar inscribed Nº 2, a sheaf of tobacco leaves, a sack initialed I.A.C.J.P., a wicker box partially open to reveal its contents, three sealed boxes and a barrel of tobacco, beneath the panel a pair of leafy boughs enclosing the inscription Nº 4; with a brass domed cover. Height of jar: 28.3 cm. (11 1/8 in.); overall: 34 cm. (13 3/8 in.) Provenance: The collection of Mrs. Marietje Jedeloo, Delft (18991979) Note: A handwritten note in Dutch was found inside this jar (fig. 1), and its jottings translate to: “The new stock market has attracted me. This is opened in 1845 by King WII. At the age of 11 years old, I went with the family in the early morning on the carriage from Delft to The Hague, where I went for the first time to the Dutch Iron Railway Station, which opened in Fig.1. 1 8 4 3 , [and took the train] to Amsterdam. 1 June 1916, AR Jedeloo” The Amsterdam Stock Exchange, regarded as the oldest in the world, was established in 1602 by the Dutch East India Company (Verenigde Oostindische Compagnie, or VOC) for transactions in its printed stocks and bonds, which were issued to finance its international trading activities. Originally the shares were traded in the Damrak, but in 1607, the Amsterdam city council commissioned the leading architect of the day, Hendrick de Keyser (1565-1621), to design a proper building for the exchange, which opened in 1611 on the Rokin. After two centuries of continual use, the first exchange building had fallen into such disrepair that in 1835 it had

to be abandoned and demolished. From 1836 trading was conducted in a temporary wooden structure in the middle of the Dam square until the new building, designed by Jan David Zocher, Jr. (1791-1870), was opened on September 10, 1845 by King Willem II (17821849). Constructed between 1841-45 on the site of the Fish Market (the current site of De Bijenkorf department store), facing south where the Damrak meets the Dam, the new Greek revival building with its neoclassical entrance portico supported by Ionic columns at the center of a nearly windowless facade, was immediately and facetiously named “The Mausoleum.” Even the Dutch poet and prose-writer, Everhardus Johannes Potgieter (1808-1875), who was a great proponent of the Golden Age of the Netherlands in the sixteenth and seventeenth centuries, and who wrote frequently, if in an obscure style, for De Gids (The Guide), which became Holland’s leading monthly magazine, weighed in on the subject with a poem critical of the columned architecture. But it was a spectacle that the public flocked to see, and it served the financial community until the trading within outgrew the premises, and it was demolished and replaced in 1903 by Amsterdam’s third Stock Exchange building, the Beurs van Berlage near the central station. On September 22, 2000, the Amsterdam Stock Exchange merged with the Brussels Stock Exchange and the Paris Stock Exchange to form Euronext, and is now known as Euronext Amsterdam.

Fig. 2. Fourmois, Théodore & Springer, Cornelis. De Nieuwe Beurs = La Nouvelle Bourse. ca. 1850. Buffa & Zonen, Frans. lithography. 17,5 x 23,5 cm

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Bibliography VAN AKEN-FEHMERS 1999 M.S. van Aken-Fehmers, L.A. Schledorn, A.-G. Hesselink, T.M. Eliëns, Delfts aardewerk. Geschiedenis van een nationaal product, Volume I, Zwolle/Den Haag (Gemeentemuseum) 1999

HELBIG (NO DATE) J. Helbig, Faïences Hollandaises, XVIIe- XVIIIe-début XIXe s., Volumes I and II, Musées Royaux d’Art et d’Histoire, Brussels (no date)

VAN AKEN-FEHMERS 2001 M.S. van Aken-Fehmers, L.A. Schledorn, T.M. Eliëns, Delfts aardewerk. Geschiedenis van een nationaal product, Volume II, Zwolle/Den Haag (Gemeentemuseum) 2001

HOLLSTEIN F.W.H. Hollstein, Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700, 64 Volumes, Amsterdam 1949-....

VAN AKEN-FEHMERS 2007 M.S. van Aken-Fehmers, T.M. Eliens, Delfts aardewerk. Geschiedenis van een nationaal product, Vazen met tuiten. 300 jaar pronkstukken (Vases with spouts. Three centuries of splendour), Volume IV, Zwolle/ Den Haag (Gemeentemuseum) 2007 VAN AKEN-FEHMERS 2012 M. S. van Aken-Fehmers, T.M. Eliens, S.M.R. Lambooy, Het wonder van Delfts blauw, DelftWare WonderWare, Zwolle/Den Haag (Gemeentemuseum) 2012 BIESBOER 1997 P. Biesboer, exh. cat. Nederlandse Majolica 1550-1650, Schotels en tegels voor de sier, Haarlem (Vleeshal, Frans Hals Museum) 1997 BOYAZOGLU, DE NEUVILLE 1980 J. Boyazoglu, L. de Neuville, Les Faïences de Delft, Paris 1980 BOYAZOGLU 1983 J. Boyazoglu, Delft, Capitale de la Faïence, Musée de l’Hôtel Sandelin, Saint-Omer 1983 COHEN, MOTLEY 2008 M. Cohen, W. Motley, Mandarin and Menagerie, Chinese and Japanese Export Ceramic Figures, Volume I: The James E. Sowell Collection, Reigate (Cohen & Cohen) 2008

HUDIG 1929 F.W. Hudig, Delfter Fayence, Ein Handbuch für Sammler und Liebhaber, Berlin 1929 JÖRG 1983 C.J.A. Jörg, Oosters porselein - Delfts aardewerk. Wisselwerkingen, Groningen 1983 DE JONGE 1947 C.H. de Jonge, Oud-Nederlandsche Majolica en Delftsch Aardewerk, Een ontwikkelingsgeschiedenis van omstreeks 1550-1800, Amsterdam 1947 DE JONGE 1965 C.H. de Jonge, Delfts Aardewerk, Rotterdam/’s-Gravenhage 1965 DE JONGE 1967 C.H. de Jonge, “Een particuliere verzameling Delfts aardewerk” (Collectie A. Vromen, Jr.), in: Mededelingenblad Nederlandse Vereniging van Vrienden van Ceramiek, (1967) 48, pp. 3-76 DE JONGE 1970 C.H. de Jonge, Delft Ceramics, New York 1970 LAHAUSSOIS 1994 C. Lahaussois, Faïences de Delft, Musée des Arts Décoratifs, Paris 1994

VAN DAM 1991 J.D. van Dam, Gedateerd Delfts aardewerk, Dated Dutch Delftware, Rijksmuseum (Amsterdam)/Zwolle 1991

LAHAUSSOIS 1998 C. Lahaussois, Faïences de Delft, Musée National de Céramique, Sèvres 1998

VAN DAM 1999 J.D. van Dam “’Delfts’ uit de provincie, Aardewerk uit Hollandse tegelfabrieken”, in: Vormen uit Vuur, (1999) 168/169, pp. 5-101

LAHAUSSOIS 2008 C. Lahaussois (ed.), Delfts aardewerk, Amsterdam 2008; also published as Delft – Faïence, Paris 2008

VAN DAM 2004 J.D. van Dam, Delffse Porceleyne, Dutch Delftware 1620-1850, Zwolle/Amsterdam (Rijksmuseum) 2004

LAVINO [NO DATE] M. Lavino, The Lavino Collection, Lokeren (no date)

DELENNE 1947 R.L. Delenne, Dictionnaire des Marques de l’Ancienne Faïence de Delft, Paris 1947 DUMORTIER 1990 C. Dumortier, Delft, Musées Royaux d’Art et d’Histoire, Brussels 1990

LUNSINGH SCHEURLEER 1975 D.F. Lunsingh Scheurleer, Delfts Blauw, Bussum 1975 LUNSINGH SCHEURLEER 1984 D.F. Lunsingh Scheurleer, Delft, Niederländische Fayence, München 1984

FOUREST 1957 H.-P. Fourest, Les Faïences de Delft, Paris 1957

MARIËN-DUGARDIN 1971 A.-M. Mariën-Dugardin, Tover van het Delfts aardewerk, Brussels 1971

FOUREST 1980 H.-P. Fourest, Delftware, London 1980

MATUSZ 1977 J. Matusz, Delfts aardewerk, Amerongen 1977

FRÉGNAC 1976 C. Frégnac, La Faïence Européenne, Le Guide du Connaisseur, Paris 1976

MEES 1997 D.C. Mees, Kunstnijverheid 1600-1800 en Tegels. Applied Arts 16001800 and Tiles, Museum Boijmans Van Beuningen, Rotterdam 1997

HAVARD 1878 H. Havard, Histoire de la Faïence de Delft, Paris/Amsterdam 1878

MORLEY-FLETCHER, McILROY 1984 H. Morley-Fletcher, R. McIlroy, Christie’s Pictorial History of European Pottery, Oxford 1984

HAVARD 1909 H. Havard, La Céramique Hollandaise, Histoire des Faïences de Delft, Haarlem, Rotterdam, Arnhem, Utrecht, etc. et des porcelaines de Weesp, Loosdrecht, Amsterdam et la Haye, Volumes I and II, Amsterdam 1909

NEURDENBURG, RACKHAM 1923 E. Neurdenburg, B. Rackham, Old Dutch Pottery and Tiles, London 1923

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RESSING 2008 H. Ressing, J. Ressing-Wolfert, K. Duysters, Arnhemse faience (1759c. 1770), een europees avontuur, Zwolle 2008 ROSEN 2005 J. Rosen, “Trompe l’oeil en céramique, XVIe-XIXe siècle” in: M. Milman, M. Philippe (eds.), Le trompe-l’oeil: plus vrai que la nature?, Versailles 2005 SARGENT 1991 W.R. Sargent, The Copeland Collection, Chinese and Japanese Ceramic Figures, Salem (Peabody Museum) 1991

Exhibition Catalogues EXH. CAT. AMSTERDAM 1929 Tentoonstelling van Oude Kunst, Rijksmuseum, Amsterdam 1929 EXH. CAT. AMSTERDAM 1936 Tentoonstelling van Oude Kunst, Rijksmuseum, Amsterdam 1936 EXH. CAT. AMSTERDAM 1962-63 Het wondere zwart van Delft, Museum Willet-Holthuysen, Amsterdam, 1962-1963

SCHAAP 2003 E.B. Schaap, Delft Ceramics at the Philadelphia Museum of Art, Philadelphia 2003

EXH. CAT. AMSTERDAM 2001 R. Baarsen, et al., Rococo in Nederland (Rococo in the Netherlands), Rijksmuseum, Amsterdam/Zwolle 2001

SCHOLTEN 1986 F.T. Scholten, Delfts, ‘s-Gravenhage 1986

EXH. CAT. ARNHEM 1961 Catalogue of Arnhem Faience, Gemeentemuseum, Arnhem 1961

SCHOLTEN 1993 F.T. Scholten, exh.cat. Dutch Majolica & Delftware, The Edwin van Drecht Collection, 1550-1700, The Hague (Paleis Lange Voorhout) 1993

EXH. CAT. BRUSSELS [NO DATE] Faïences Hollandaises ±1640 à ±1800, Musées Royaux d’Art et d’Histoire, Brussels, Liège (no date)

STODEL [NO DATE] Salomon Stodel Antiquités, coll. cat., Blue Delftware 1680-1720, Amsterdam (no date)

EXH. CAT. DELFT 1962 Meesterwerken uit Delft, Stedelijk Museum Het Prinsenhof, Delft 1962

VANDEKAR 1978 E. Vandekar, An Introduction to Dutch Delftware, London 1978

EXH. CAT. ROTTERDAM 1978 Thema thee. De geschiedenis van thee en het theegebruik in Nederland, Museum Boijmans Van Beuningen, Rotterdam 1978

VAN DER VORM 2010 B. Abraham, R.D. Aronson, Dutch Delftware, The Van der Vorm Collection, Amsterdam 2010 WESTERMANN 2001 M. Westermann, Art & Home, Dutch Interiors in the Age of Rembrandt (Denver Art Museum and The Newark Museum), Zwolle 2001

EXH. CAT. ST. OMER 1989 Les plaques en faïence de Delft, Musée de l’Hôtel Sandelin, SaintOmer 1989

Aronson Publications • Aronson: 100 jaar Antiquairs, Amsterdam 1981 • Delfts uit de 17e en 18e eeuw, Amsterdam [1987] • Dutch Delftware, Amsterdam [1990] • Dutch Delftware, Amsterdam 1993 • Dutch Delftware, Amsterdam [1996] • Dutch Delftware, Amsterdam [2001] • Dutch Delftware, Highlights from the Vanhyfte Collection, Amsterdam 2003 • Dutch Delftware, The Dr. Günther Grethe Collection, Amsterdam 2004 • Dutch Delftware, Amsterdam 2005 • Dutch Delftware, Aronson 125th Anniversary, Amsterdam 2006 • Dutch Delftware, Amsterdam 2007 • Dutch Delftware, Including Selections from the Collection of Dr. F.H. Fentener van Vlissingen and a Rare Group of I.W. Hoppesteyn Marked Objects, Amsterdam 2008 • Dutch Delftware, Plaques: A Blueprint of Delft, Amsterdam 2008-2009 • Dutch Delftware, Including Selections from a Distinguished Manhattan Collector, Amsterdam 2009 • Dutch Delftware, Facing East: Oriental Sources for Dutch Delftware Chinoiserie Figures, Amsterdam 2010 • In the Eye of the Beholder: Perspectives on Dutch Delftware, Amsterdam 2011 • Dutch Delftware: Timeless Elegance, Amsterdam 2012

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A brief history of Dutch Delftware In the first half of the 15th century, mercantile cities such as Brugge (Bruges) and Antwerp in the southern Netherlands (now Belgium) became familiar with earthenware from southern Europe through both trade and political contacts with Italy, Spain and Portugal. This earthenware was exported by Spain and Italy to the northwestern European commercial centers often by sea. One of the maritime trade routes passed through the Spanish island of Mallorca, from which the name ‘maiolica’ developed for a certain type of glazed pottery. Dutch Maiolica is an earthenware product coated with a tin glaze on the front or exterior and a highly translucent lead glaze on the back or base. Maiolica dishes were fired face down on three spurs that often left marks which remained visible in the central design. In Italy the city of Faenza was a well known center for the production of earthenware that came to be called ‘faience’ by the French. It was slightly more refined than maiolica and distinguished from it in that the earthenware body was completely covered on the front and back with a whiter tin glaze. Also, faïence dishes were fired with the image upward so the spur marks appeared on the back or underside. By the middle of the 15th century, largely through the gradual migration of potters from southern Europe through France to the Netherlands, the earthenware industry had become well established in Antwerp. At this time the Guild of Saint Luke was founded – an artisans’ guild which eventually would extend throughout the Netherlands and would exist for many centuries. The books of the guild reveal that by the end of the 15th century several Italian maiolica- and faience-makers in Antwerp had become extremely successful.

industry in the town of Delft. As the Delft brewers ceased production at the beginning of the 17th century because the town’s canal water had become too polluted to be used to make a potable brew, their large abandoned buildings on the canals were quickly occupied by the pottery-makers, who could utilize both the space and the convenient water source for the working of their clays and for the transportation of their raw materials and finished wares. At precisely the same time and throughout the 17th century, the Dutch developed a dominance in the European trade with China through which they imported large cargoes of luxury goods, including the much-coveted blue and white porcelain. By the middle of the century, however, a war in China interrupted the production and exportation to the Netherlands of Chinese porcelain, which declined from a quarter million pieces per year to a mere trickle. The potters in Delft seized the opportunity to fill the void, and they began producing earthenwares in emulation of Chinese porcelain, which they successfully marketed as “porcelain.” Within the next century and a half, the Delft pottery-makers became so successful, that their products were imitated by many pottery and porcelain factories across Europe and even in the Far East. At the height of production the Guild of Saint Luke counted almost 40 factories in the small city of Delft. Because they were innovative and adaptive to the needs and whims of their varied clientèle, and because of the perseverance of the Delft potters, the elegant term ‘faience’ has become synonymous with 'delftware.'

In the second half of the 16th century, under religious pressure, many of the reformists and Protestants were forced to leave Antwerp. Most moved to London, Hamburg or the northern Netherlands and specifically to the city of Haarlem (the city after which New York’s ‘Harlem’ was named) near Amsterdam. One of the families in Haarlem who operated a successful potting business were the Verstraetens, who produced wares in the maiolica (or majolica) tradition. A quarrel in 1642 between Willem Jansz. Verstraeten and his son Gerrit split the market. The elder Verstraeten continued making the old-fashioned majolica and the son ventured into the more modern faience, which was more thinly potted and bore a closer resemblance to the imported Chinese porcelain wares that were becoming so sought-after. The rise of the potting industry in Haarlem occurred simultaneously with the decline of the beer brewing 128

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