Our profession is centered on research, discovery, and making connections. This month’s article recounts the extraordinary story of a magnificent 17th-century garniture set that was unexpectedly reunited at Aronson Antiques—a remarkable twist of fate one could only dream of.

In early summer 2024, we had the privilege of acquiring a stunning pair of vases from a Swedish family. Both pieces bear the mark GK, identifying them as the work of Gerrit Pietersz. Kam, owner of the Drie Posteleyne Astonne (The Three Porcelain Ash-Barrels) factory from 1679 to 1700.

Founded in 1655 by Jeronimus Pietersz. van Kessel, De Drie Posteleyne Astonne was among the earliest Delftware factories established on the Geer in Delft. Over the years, it was known by several names, including De 3 Astonne, De 3 Vergulde Astonnekes, and De 3 Posteleyne Astonne. Following Van Kessel’s passing in 1660, his widow managed the factory until 1667, when she sold it.

By 1673, Gerrit Pietersz. Kam (1652–1700) had become co-owner of the factory alongside Wouter van Eenhoorn. Kam, who had been admitted to the Guild of Saint Luke in 1667, played a pivotal role in shaping the factory’s production. After Van Eenhoorn’s death in 1678, Kam took full control of the workshop, maintaining its reputation for exceptional Delftware. In 1700, he passed ownership to his eldest son, Pieter Gerritsz. Kam, ensuring the family’s lasting influence on Delftware craftsmanship.

The decorative motifs on this pair of vases, featuring Long Eliza figures inspired by Chinese Kangxi porcelain, are characteristic of Kam’s work. At the time, Asian-themed designs were highly sought after, not only in the Dutch Republic but also across the East Sea region, including Poland and the Baltic states. Today, several Baltic collections still house Delftware produced under Kam’s directorship, most notably the National Museum in Gdańsk.(1)

Beyond its  presence in the Baltic region, Delftware from both the past and present Aronson collection and various museums offers further insight into Kam’s production range (Fig. 1, 2, and 3). Without exception, all these pieces feature Chinoiserie decorations. The specific design of this set—alternating panels of potted flowers and Long Eliza figures—appears on several other objects, including a jar with a later silver cover housed in the Kunstmuseum The Hague (inv. no. OC(D) 14-1904).

Centuries after their creation, these remarkable pieces continue to cross borders, finding new homes and admirers. When the “Swedish” pair arrived in Amsterdam, their elegance and refinement were immediately captivating. Though they required minor restoration, their beauty was undeniable, and they were entrusted to our restorer.

Several months later, in late November, an auction in Paris presented a strikingly familiar sight: a Delft vase and cover that had once been part of our collection. Decades earlier, this very piece had been sold to a beloved couple in Belgium. It remained in their family’s collection even after the husband’s passing—the same year we lost Dave Aronson, one of the key figures in our company’s history. Now, the family had decided to part with several objects through auction, offering us an unexpected opportunity to bring the vase back to Amsterdam.

A bid was placed, surpassing our initial limit, and the vase was successfully secured. When it arrived a few weeks later, a strong suspicion arose: could this newly acquired vase be an exact match to the “Swedish” pair? Initial skepticism was understandable, as the pair is marked GK for Gerrit Kam, yet the auction house had cataloged the single vase as a product of De Metaale Pot. To investigate further, the “Swedish” vases were retrieved early from the restorer for a direct comparison. A closer examination soon revealed an astonishing truth: all three pieces were identical in marking, decoration, size, and execution.

To verify this remarkable discovery, research into archival records commenced. Since the central vase had once passed through our hands, we scoured our historical notes, where we found a brief but intriguing reference: “ex. Huldschinsky.”

Oscar Huldschinsky (1846–1931) was a prominent Jewish industrialist and patron of the arts (Fig. 4). Based in Berlin, he built his fortune in coal mining and the iron industry of Upper Silesia, amassing significant wealth—estimated at 30 million marks in 1914. His success enabled him to assemble an extraordinary art collection, which included masterpieces by Botticelli, Tiepolo, Rembrandt, Frans Hals, and Rubens, as well as an impressive selection of Delft faience. As one of the most influential art patrons of the early 20th century, he generously donated significant works to German museums, including Edgar Degas’ Conversation and Auguste Rodin’s The Thinker. However, facing financial difficulties in 1928, Huldschinsky was forced to auction parts of his collection. Though a promising lead, this clue alone was not conclusive.

A deep dive into records of this auction led us to a crucial reference in the 1928 catalogue of the Oscar Huldschinsky Collection in Berlin:

• Lot 228 – Porzellanvase, Delft, 17. Jahrhundert, H. 58 cm.
• Lot 229 – Zwei Porzellanvasen, Delft, 17. Jahrhundert, H. je 58 cm.

Although the term porzellan was commonly used for Delft ceramics at the time, these descriptions strongly suggested that the vases had originally been together in the Huldschinsky collection. Yet, without accompanying images, definitive proof remained elusive.

Determined to confirm the connection beyond doubt, we reached out to the Swedish family, who confirmed that their vases had been in their possession since the early 20th century. Encouraged by this lead, we expanded our search for a complete copy of the 1928 catalogue, which eventually led us to an antiquarian bookstore in the United States. The catalogue was acquired and shipped to New York, where it was eagerly examined upon arrival in January of this year.

As the pages were turned with anticipation, a crucial photograph emerged near the end of the book—an image displaying all three vases together (Fig. 5).(2) Comparing the details with our existing photographs, there was no doubt: the brushstrokes, the motifs, and even the subtlest elements confirmed the successful reunion of this historically significant set.

Reuniting these vases is more than just an acquisition; it is an extraordinary and unexpected reunion of a long-separated set. Such a rare occurrence fills us with immense excitement, as it offers a glimpse into the past and the remarkable journey these pieces have taken. It is also a tribute to their original collector, Oscar Huldschinsky, and a testament to the dedication required to preserve Delftware’s rich legacy. Moments like these remind us why we cherish these masterpieces—not only for their beauty and craftsmanship but for the stories they continue to tell.

Notes

1. Collection of the National Museum of Gdansk, inventory numbers: MNG/SD/327/CS, MNG/SD/328/CS, MNG/SD/350/CS, MNG/SD/358/CS, MNG/SD/360/CS, MNG/SD/346/CS, MNG/SD/316/CS. With thanks to Magdalena Podgórzak, curator Ceramics and Glass.
2. Paul Cassirer and Hugo Helbing, Die Sammlung Oscar Huldschinsky, Berlin, 1928