homenews – Page 35 – Aronson Antiquairs of Amsterdam | Delftware

The Princessehof in Leeuwarden was formerly a small palace built in 1693. In 1731, Marie Louise van Hessen-Kassel, dowager of Orange, acquired the building. After the death of her husband, John William Friso, Prince of Orange, she acted as a regent for her son Willem IV who was still too young to govern.

The Princess was passionate for ceramics and she displayed her large and diverse collection in her new home. Her collection resides today in the Naussaukamer, a period dining room in the museum designed in the baroque style. After her death, the palace was separated into three houses. The houses were acquired by the municipality of Leeuwarden and placed at the disposal of the art collectors Nanne Ottema (1874-1955) and his wife Grietje Kingma (1873-1950). The couple transformed the palace into a museum on the 31st of August 1917.

Today, the institution houses a splendid collection of more than 35,000 ceramics that include Chinese porcelain, art nouveau and also a superb range of Delftware objects from the seventeenth and eighteenth centuries. Amongst the most impressive pieces of the museum is a magnificent blue and white flower vase marked for Lambertus Cleffius, the owner of De Metaale Pot (The Metal Pot) factory from 1679 to 1691. This extremely rare shape was inspired by the French fashion of the time.

Blue and White Flower Vase, Lambertus Cleffius, De Metaale Pot

The Museum Paul Tetar van Elven is housed in a quaint sixteenth century canal house on the Koornmarkt (Corn Market) in the city center of Delft. The house was once the private residence of the famous artist Paul Tetar van Elven (1832 – 1896), who was a painter of historical scenes, portraits, and copies of Old Master works of art.

Tetar van Elven was also a passionate collector of porcelain, earthenware, antiques and curiosa (weapons, furniture, costumes), and he regularly bought work from contemporary artists. His diverse collection of ceramics include seventeenth century Chinese Ming porcelain, Japanese Imari porcelain, eighteenth century Famille Rose porcelain, Amsterdams bont and of course Dutch Delftware. His remarkable and unique collection is highlighted by the evocative interior design, largely unchanged since Tetar van Elven’s life.

After his death, he bequeathed the house and its contents to the city of Delft to transform it into a museum and maintain his collection. This carefully preserved nineteenth century home transports visitors with its lived-in feel, and is a hidden gem in the city of Delft.

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OBJECT

• D1057. Polychrome Chinoiserie Plaque

Delft, circa 1740

Painted in the center with a bird and two insects itting above a dancing boy and a ‘Long Eliza’ holding a cloth and looking away, in the distance a small pavilion within a cartouche edged in black and surrounded by an iron-red ground patterned with a field of manganese and iron-red peony blossoms amidst blue, yellow and green scrolling foliage, and reserved at the top and bottom with shell devices and blue trelliswork panels, at the sides with two dancing putti, and between with four panels painted in blue with a striding Chinese boy, the self-molded frame with an iron-red-ground border of further blossoms and foliate-scrolls reserved with trelliswork panels at the top, bottom and sides, and with a blue outer edge pierced at the top with two holes for suspension; the reverse glazed.

Dimensions: 38.1 x 33.8 cm. (15 x 13 5/16 in.)

Provenance:
Collection Gilbert Lévy, Paris;
Salomon Stodel Antiquités, 1998;
Private Dutch collection, Amsterdam

Literature: Catalogue of The European Fine Art Fair, Maastricht, 1998, p. 300.

Antique Petit Feu Bakery Plate Aronson Antiquairs

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OBJECT

D1358. ‘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

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OBJECT

D834. Blue and White Ewer

Delft, circa 1695

Marked LVD in blue

Painted on the front with four figures laboring in a chair-caning workshop within a panel, and on the reverse with four birds amidst pierced rocks and oriental flowering plants, the neck with ruyi and foliate devices, and the handle with a foliate vine.

Height: 23.7 cm. (9 5/16 in.)

Provenance: The Bodenheim Collection, Amsterdam

Literature: Van Dam, Vormen uit vuur 163, p. 24, pl. 8; Catalogue of the Grosvenor House Art and Antiques Fair, 1998, p. 60; Aronson, Dutch Delftware, 2001, ill. 11

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OBJECT

•D832. Blue and White Chinoiserie Ewer

Delft, circa 1690

Attributed to Rochus Jacobsz. Hoppesteyn

Painted with five Oriental figures and a Moor standing or seated amidst shrubbery before distant buildings, the neck with stylized floral and foliate decoration, and the handle with a flowering vine.

Height: 23 cm. (9 in.)

Delftware biblical plates at Aronson Antiquairs

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OBJECT

• D1780. Pair of Blue and White Biblical Dishes

Delft, circa 1780

Each marked LPK in blue for De Porceleyne Lampetkan (The Porcelain Ewer) factory

Each painted in the center with the story of Jacob and Esau depicting Jacob offering a bowl from a cauldron on the hearth at the left to the seated archer Esau, all above the inscription “Gen: 25. vs 27.”, the rim decorated with a border of stylized floral scrollwork patterned with dots and stripes.

Diameters: 34.5 and 35 cm. (13.6 and 13.8 in.)

Note:
The story of Jacob and Esau is one of the most familiar of all of the accounts of Jacob’s life in the Book of Genesis (Chapters 25-33). Jacob was the younger of the twin brothers born to Isaac (the son of Abraham and Sarah) and Rebekah. According to tradition, at their birth he grasped the heel of his brother Esau who emerged first, red and hairy. (In Hebrew, the name Esau means “hairy” or “rough” and Jacob means “heel-catcher” or “he who follows on the heels of another.”) The brothers possessed very different temperaments: Esau became a cunning hunter and was loved by his father, while Jacob was homier and the favorite of his mother. One day Esau returned from a day of hunting, exhausted and hungry, and implored his brother for a bowl of the red lentil stew he was preparing. Jacob, seizing on the opportunity, offered to exchange the meal for Esau’s birthright (the privilege of being recognized as the firstborn), and the famished Esau carelessly agreed.

Years later when the aged Isaac had become blind and concerned about his own death, he decided to bestow his blessing of the birthright on Esau. He dispatched Esau to trap and cook a piece of game to celebrate the blessing, but while Esau was hunting, Rebekah dressed Jacob in Esau’s clothing and covered his arms in goatskin to simulate his hirsute brother. Although cleverly disguised when he approached his father’s bed, Jacob did not immediately deceive his father, who pronounced, “The voice is Jacob’s voice, but the hands are the hands of Esau!” (27:22). Nevertheless, after Jacob declared deceitfully that he was indeed Esau and Isaac had consumed the food and wine Jacob had offered him, he blessed his younger son, “Behold, thy dwelling shall be in the fatness of the earth, and the dew of heaven from above” (27:39).

Returning from the hunt, Esau discovered the deception, and both he and Isaac were dismayed, but Isaac could not rescind his blessing and could only promise Esau that “By thy sword shalt thou live, and shalt serve thy brother; and it shall come to pass that when thou shalt have the dominion, that thou shalt break his yoke from off your neck” (27:40).

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Beautiful antique polychrome petit feu tureen

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OBJECT

• D1624. Polychrome ‘Petit Feu’ Sauce Tureen, Cover and Stand

Delft, circa 1760

The bombé tureen and cover each painted on one side in iron-red, yellow, blue, rose, green and black with a large spray of a tulip and other flowers, on the other side with another large floral spray and under the foliate-loop handles at the ends with a green and yellow insect and green foliate sprig, the tureen shoulder and ankle and the notched cover rim outlined with a rose line, the cover surmounted by a knop formed as a reddish-yellow apple sprig with three green leaves, and the center of the stand with a spray of roses, smaller flowers and green leaves within six floral sprigs on the rim, its edge molded with eight foliate scrolls outlined and feathered on their tips in iron-red.

Lengths: 21 and 20 cm. (8¼ and 7⅞ in.)

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Antique ceramic sweetmeat dish, Delft created

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OBJECT

D9003. Blue and White Hexagonal Sweetmeat Dish

Delft, circa 1685

Marked LC and Ø in blue for Lambertus Cleffius, the owner of De Metale Pot (The Metal Pot) factory from 1679 to 1691

The central circular well painted with a floral medallion and encircled by six heart-shaped compartments, two painted with a bird perched on a rock amidst shrubbery, two painted with a bird perched on a flowering branch, and two painted with an insect hovering above a flowering branch, all bordered on their upper edges with foliate-scroll devices.

Diameter: 18.2 cm. (7 3/16 in.)

Antique Willem & Lambertus Cleffius gourd shaped vase

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OBJECT

•D1304. Blue and White Large Triple-Gourd-Shaped Vase

Delft, circa 1685

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. (26 1/4 in.)

Provenance: The Dr. Günther Grethe Collection, Hamburg

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