Important and Rare Delftware Collection at TEFAF Maastricht 2017

AMSTERDAM February 21, 2017 - At TEFAF Maastricht 2017 Aronson Antiquairs will present a spectacularly rare and important collection of Dutch Delftware: The Nijstad Collection and highlights from the Morpurgo Collection.

THE NIJSTAD COLLECTION
The Nijstad family has been deeply wedded to art and antiques for as long as anyone can remember. They channeled this passion into a successful business, decades before Hartog ‘Harts’ and Kitty Nijstad developed a magnificent collection of Dutch Delftware in the twentieth century. Robert Aronson, fifth generation owner of the over 135 year old Dutch firm, has already a long history with the family. He has childhood memories of visiting Mr. and Mrs. Nijstad, who where his father’s colleagues and his grandparent’s dear friends. As Robert Aronson adds “No extravagance. Mr. Nijstad invited us to the study upstairs. There, a large vitrine running from floor to ceiling was remarkably filled entirely with Dutch Delftware”. The collection, which was started by his father Abraham Nijstad, include a pair of boys riding lions made around 1775, and a pair of candlesticks with deer marked for Jan van den Briel, the owner of De Grieksche A (The Greek A) factory from 1768 to 1783, or his widow Petronella van der Laan from 1783 to 1796. An early polychrome money bank, which can be attributed to Jannetge Claesdr. van Straten, widow of Jacob Wemmersz. Hoppesteyn and the owner of Het Moriaenshooft (The Moor’s Head) factory from 1671 until 1686, is also part of this important collection. Robert Aronson, who is grateful to the Nijstad family for the long friendship, is proud and honoured to be given the opportunity to present the Nijstad collection in all its glory.

THE MORPURGO COLLECTION
In addition to the outstanding objects from the Nijstad collection, Aronson Antiquairs will also bring several highlights from the Morpurgo collection. The Morpurgo family is a renowned Amsterdam dynasty in the antiques trade. Four successive generations have contributed their expertise, knowledge, and passion to the industry since the family business was started by Joseph M. Morpurgo in 1869. The Aronson family and the Morpurgo’s also go back several generations. One of their long treasured objects is a plaque attributed to Frederik van Frijtom - who is Holland’s most renowned painter of seventeenth century Delft faience and oils, which can now represented to a new generation of collectors and appreciators.

TEFAF
TEFAF Maastricht is widely regarded as the world's leading fair for art, antiques and design. Featuring 275 prestigious deals from some 20 countries, TEFAF Maastricht is a showcase for the finest art works currently on the market. TEFAF Maastricht's upcoming edition will  run from Thursday March 10 through Sunday March 19, 2017.

BACKGROUND
Dutch Delftware has been handmade in Holland for more than 400 years. It began when trade with Italy, Spain and Portugal brought earthenware to the Netherlands. By the seventeenth century the Dutch East India Company had introduced Europe to Chinese porcelain and exports flourished as the West strived to duplicate the Chinese formula for fine blue and white porcelain. When war in China interrupted the trade, potters in Delft expanded their businesses to create earthenware versions of ‘porcelain.’ At the height of production The Guild of Saint Luke counted almost 40 factories in the small city of Delft. They were innovative and adapted to fill the needs of clients all over Europe, with the elegant term ‘faience’ becoming synonymous with ‘delftware.’ The word “Delftware” has long been associated with a visit to Holland.

For over 135 years Aronson Antiquairs has sought to carry the very finest examples of Delft in the full range of forms and patterns, from the extremely rare black Delft to Japanese Imari designs and the instantly recognizable blue and white and Chinoiserie motifs in dishes, figures, vases, bowls and plaque forms. Robert Aronson is chairman of the Royal Dutch Antique Dealers Association and he recently provided sponsorship support to the Gemeentemuseum in The Hague to show a distinguished collection of antique Delft titled “Delftware Wonderware.”

IF YOU GO

TEFAF Maastricht
(www.TEFAF.com)

Or visit: ARONSON ANTIQUAIRS
Nieuwe Spiegelstraat 45-B
Amsterdam-Center

Mail: P.O.Box 15556
NL-1001 NB Amsterdam
The Netherlands

Tel. +31 20 623 3103
Fax +31 20 638 3066

For interviews and high resolution images please contact:
Celine Ariaans
+31 20 623 3103
celine.ariaans@aronson.com

CAT17_cover

The history of the iconic Dutch faience produced mainly in the western Dutch city of Delft is drawn up in many publications. Museums and studenst in the Netherlands and around the world are continuously researching certain aspects of a product the played such a pivoting role in the history of arts, of the first encounters between Europe and the Far East and of the comencement of the production of faience and porcelain in other European cities. Both Meissen and Sevres drew on the knowledge built over centuries in Delft.

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.

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 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’.

Search
X