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D8830. Pair of Cashmere Palette Octagonal Rouleau Vases


Delft, circa 1710

Both marked PAK No 8 in iron-red for Pieter Adriaensz. Kocx, the owner of De Grieksche A (The Greek A) Factory from 1701 to 1703, or his widow Johanna van der Heul, the owner from 1703 to 1722

Each painted with a long-tailed bird in flight near two others perched on a blade of grass growing behind a pierced rock amidst peonies and chrysanthemums, the upper body with a deep border of four foliate lappets terminating in a blossom and pendent from a larger peony blossom issuing further foliage forming connecting panels of flowers, and the flaring rim encircled with an iron-red whorl band.

Height: 21.9 cm. (8 5/8 in.)

In stock


The delicate grand feu decoration of these colorful Delftware objects made between 1700 and 1720 was given the descriptive title ‘cashmere’ in the nineteenth century for their likeness in color, and exotic, dense motifs to the fine woolen shawls that were imported from India and worn by high class European ladies. The earthenware of this category has sometimes a reeded surface with a color scheme of blue, red and green.

Although the Delft pieces were named after the fashionable textiles, the Delft potters were in fact inspired by the Chinese Famille Verte porcelain wares of the Kangxi period(Wucai 1662- 1722), which arrived in Europe at the end of the seventeenth century. The Chinese designs inspired Delft potters to expand upon the grand feu technique; new shades appeared and the colors became more intense due to an additional layer of transparent lead glaze applied over the surface.

Delftware potters also looked beyond China for further inspiration in designing cashmere pieces. The cashmere decoration on Delftware presents many similarities with the French baroque style of Jean Berain, who was one of Louis XIV’s official designers. His style is characterized by the delicate use of arabesques and whimsical grotesques that originally derived from the Renaissance. Using light floral patterns, Berain famously combined garlands of flowers, draperies, scrolls, and pendants. The taste for luxuriant decoration no doubt encouraged the painters to use a bright, if limited, palette, which gave the pieces great richness.

Etienne Delaunoy, Amsterdam;
The Frits Philips Collection, ‘De Wielewaal’, Eindhoven, Brabant


  • Usual rim fritting
  • Some repaired glaze loss
  • One with firing cracks
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