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
1604 – Blue And White Chinoiserie Deep Bowl

Blue and White Chinoiserie Deep Bowl

Every month we present a special object from the Aronson Antiquairs’ collection. This month we would like to show you this blue and white chinoiserie deep bowl. The bowl, which was made around 1670, is painted around the exterior with a continuous chinoiserie scene. Two pairs of Chinese men are seated before shrubbery and rocks, and in one vignette a fence post and jardiniere. The interior is painted with a large leaf device within a central roundel of two concentric lines.

Large bowls are considerably less common in Dutch Delft than in English Delft, which may be a consequence of the drinking customs of the two nations. Although much alcohol was consumed in taverns or pubs in both Holland and Britain, on the Continent – and particularly in the Netherlands and Germany – most drinking of that nature was done from earthenware, stoneware and metal tankards. This in contrast to England where the punch bowl often served as the vessel from which spirituous beverages were consumed. Its contents were generally ladled into glasses, but by the middle of the eighteenth century the bowl itself, generally of a smaller size, could be passed around among the imbibers. Certainly bowls have a multiplicity of uses – not just for the serving of punch or other celebratory drinks – but almost all of their uses are practical.

Delft price lists indicate that bowls, with either plain or fluted sides, were introduced to the market in several sizes. The largest were called ‘kastkom’ or ‘cupboard bowls’ referring to their decorative function of being placed on the top of a cupboard or cabinet, as shown in genre and still-life paintings of the seventeenth and eighteenth centuries, or as mentioned in written sources of the period.

Large bowls in Dutch Delftware are rare, possibly because through use their survival rate is low. Because of the tension in the clay body of bowls, created by being thrown on a potter’s wheel, they are very vulnerable to cracking and damage. Once broken, even if repaired, they are unusable, and can only serve a decorative purpose.

 

Blue and White Chinoiserie Deep Bowl
Delft, circa 1670

Painted around the exterior with two pairs of Chinese men seated before shrubbery and rocks, and in one
vignette a fence post and a jardinière, in a continuous landscape, the interior with a large leaf device painted within a central roundel of two concentric lines repeated below the rim edge and around the footrim on the exterior.

Height: 11.2 cm. (4 7/16 in.); Diameter: 20.9 cm. (8 1/4 in.)

Provenance: A Dutch Private Collection, Leeuwarden

Price: € 5.200 (appr. GBP£ 4,750 or export US$ 5’800)

Search
X