homenews

The upper sphere with a blue ground and pear-shaped pierced finial above a larger sphere decorated with a stippled band above a trellis diaper border issuing demi- chrysanthemum blossoms and interrupted by four shells, one pierced with a small coin slot, and all pendent with foliate-scroll devices; the largest sphere inscribed on the front Johanna vander Sanden above a longer pierced coin slot and painted with a gentleman handing a similar money bank to a lady standing behind a gate in a landscape with distant cottages and evergreen trees above scrollwork issuing floral sprays trailing toward the reverse beneath the date 17 5/1 74 below a stippled band of demi-flowerheads repeated around the ankle, and the ogee-domed foot with a stippled and striped border pendent with demi-flowerheads and foliate scrolls and interrupted with small and large blossoms.

Height: 30.4 cm. (11 15/16 in.)

Money banks are rare survivors, since in order to remove the money they had to be shaken or even broken. In this large and unusual shape, both spheres with a slot were intended to hold different sizes of coins. Some banks have figural finials, shaped as if throwing a coin in the slot (Aronson 2007, p. 73, no. 55), or are painted with a similar trompe l’oeil scene (Aronson 2009, pp. 66-67, no. 41; Lavino, p. 186). This money bank, however, is the first known Delft example to actually depict the money bank itself within the decoration. As many of the surviving examples are dated, they probably were intended as gifts for special occasions (for examples dated 1738, 1739 and 1744, see Aronson 2001, ill. 30; Aronson 2004, p. 123, no. 141; and Aronson 2008, pp. 84-85, no. 59, respectively). Various references to the name (Joh)anna van der Sanden are recorded in the Delft baptismal, marriage and burial archives (www. delft.digitalestamboom.nl), but a specific connection to the year 1774 has not yet been discovered.

These special containers are water dispensers for birds. When filled with water through the opening at the lower front and turned upright, the air pressure keeps the water leveled for a constant supply. Single bird feeders are seldom found in Dutch Delftware, but a pair such as this is possibly unique. The reservoirs are painted with continuous hunting scenes including a deer chase, duck-shooting and trapping by luring the birds into netted catching pipes (duck decoys, eendenkooi). This latter activity is rarely illustrated in the arts, and the decoration on these dispensers is currently its only known depiction on Dutch Delftware.

Duck decoys, generally set in wooded surroundings, consist of a quiet pond connected to ditches spanned with large hooped nets. The most common decoy pond is rectangular with curving ditches (catching pipes) at each corner, a shape referred to as ‘rogge-ei’ (‘ray-‘ or ‘skate’s egg’). Since ducks tend to take flight into the wind, the variously-aimed pipes ensure that a bird can be caught in any wind direction. The pond and pipes are enclosed by reed screens, enabling the ‘kooiker’ (‘decoyman’) to lure the ducks into a trap pipe without being noticed by the birds. Wild ducks are attracted to the decoy pond by the so-called ‘vliegstal’ (‘flying stable’ or ‘flock’) of a hundred to a thousand ducks that have flown into the trap pipes earlier, but have escaped, and therefore, will not swim into the ditches again.1 They fly out at night to collect food and return the next morning to the pond bringing along the wild ducks. In order to actually attract the wild ducks into the trap pipes, a ‘lokstal’ (‘luring stable’) of tame ducks (the so-called ‘decoy ducks’) is used. These ducks live more or less permanently near the pond and are fed daily. The decoyman also uses a dog (‘kooikerhondje’ or ‘piper’) to attract the ducks into the pipes. From behind the reed screens, the decoyman throws grain over the screens and whistles to attract the tame ducks to the entrance of the pipe. The dog circles the screens, appearing in the ducks’ sight and then disappearing again behind the screens to pique the ducks’ curiosity. The wild ducks swim along with the tame ducks while the dog lures them further down the pipe. When passing the curve of the ditch, the wild ducks can no longer see the pond. Then the decoyman appears, frightening the ducks, who take off and fly towards the dead end of the pipe, and end up in the vanghokje (‘catching box’), trapped.

Although information on duck decoys is scarce, in the seventeenth and eighteenth centuries many of the Dutch country estates would have had a duck decoy on their land, a pursuit as common as finch lanes (vinkenbanen) and falconry. For instance, near Delft the owner of the now-lost Pasgeld residence, Pieter Teding van Berkhout (1643-1713), who indulged in hunting and catching finches and thrushes on his estate grounds, mentions in his diary in 1686 the first ducks to reside in his duck (decoy) pond. The number of decoys declined during the eighteenth and nineteenth century due to intensified agriculture, changing water levels, and urbanization. From the 1,000 to 1,500 decoys that once existed, in 2008 only 113 remained. In the period 2001-2007 the average catch of all the combined Dutch decoys consisted of 15.000 ducks a year, which is less than 1% of the autumn population. Most ducks currently captured are ringed for research purposes, and decoys have now become nature preserves and quiet sanctuaries. Although decoys are known in seven European countries (Belgium, Denmark, France, Ireland, Germany, Great-Britain and the Netherlands), they are considered a typically Dutch phenomenon and part of Holland’s cultural identity, just like Dutch Delftware itself. To Great Britain, where ‘duck drives’ were known from the thirteenth century onward, the Dutch introduced the decoys in the seventeenth century, and ‘de kooi’ (‘the cage’) became known as ‘decoy’.