Page 15 - Women Collectors and the Rise of the Porcelain Cabinet (Collecting history in Europe)
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were fi tted out for that purpose, both in the palaces   her passion for collecting porcelain there. However, a
              in Kassel and in her country houses.  The majority   large proportion of her porcelain collection was based
                                           99
              of the porcelain was inherited by her daughter   on the stock acquired by her husband’s ancestors.
              Marie Louise (1688–1765), who was married to John   His grandmother Amalie Elisa beth (1602–1651), née
              William Friso van Nassau-Diez, and as a widow fi tted   Hanau-Münzenberg and wife of Landgrave William
              out the Princessehof in Leeuwarden. Years later her   V of Hes se-Kassel (1602–1637), had bequeathed her
              granddaughter, the daughter of her son Maximilian,   granddaughter by marriage 1,065 pieces of porcelain,
              had her portrait painted with Japanese vases (Fig 9).   some of which were mounted in gold or silver gilt,   Fig. 9
                                                             along with lacquer and Asian fabrics. This collection   Johann Heinrich Tischbein
                                                                                                            the Elder (1722–1789), Princess
              It is instructive to trace how Maria Amalia came to   had been derived, in turn, from legacies she inherited   Christine Charlotte of Hesse-
              own such an opulent collection of porcelain in the   in the 1640s from her mother Catharine Belgica and   Kassel (1725–1782), 1765.
                                                                                              102
              fi rst place (Fig. 10). The earliest known pieces of   her unmarried sister Charlotte of Hanau.  Catharine   Oil on canvas, 147.7 x 112.6
                                                                                                            cm. Hessische Hausstiftung,
              porcelain owned by a woman in the family were the 12   Belgica (1578–1649), a daughter of William I of   Museum Schloss Fasanerie,
              precious pieces of porcelain given in 1618 to Duchess   Orange (1533–1584) and his third wife Charlotte of   Eichenzell, inv. No. FAS B 73.
                                                                                                            In 1765 Christine Charlotte
              Elisabeth von Mecklenburg-Güstrow (1596–1625),   Bourbon (1546–1582), was married to Count Philip   became a canoness of the
              the eldest daughter of Landgrave Maurice of Hesse-  Louis II of Hanau-Münzenberg (1576–1612).  From   imperial abbey in Herford.
                                                                                                 103
              Kassel, as part of her dowry. She clearly considered   1634 onwards she lived in The Hague and assembled   This portrait, of which several
                                                                                                            versions exist, may have
              them so valuable that they were incorporated into   a substantial porcelain collection. The huge increase   been painted in connection
              her miniature Kunstkammer. This Kunstkammer    in the amount of porcelain owned by a single person   with that event. Photo:
                                                                                                            Kulturstiftung des Hauses
              consisted of an ‘East Indian chest’, fi lled with objects   can be illustrated by the number of items recorded   Hessen, Museum Schloss
              made of ivory, coral and silver, with gemstones and   in this collection at the beginning of the 17  century   Fasanerie, Eichenzell.
                                                                                               th
              crystals, as well as porcelain with gold and silver
              mounts.  Although the porcelain was not passed
                     100
              on to succeeding princesses of Kassel on account of
              inheritance disputes, this example clearly illustrates
              the great esteem in which Asian porcelain was held
              in the period around 1600. However, following the
              founding of the Dutch East India Company (VOC),
              this luxury product, of which only isolated pieces had
              previously been available, started to come to Europe
              in larger quantities, bringing about a change in status.
              Porcelain was removed from the context of the general
              Kunstkammer and integrated into the living quarters
              of palaces, fi rst as ornaments, and then towards the
              end of the century as usable commodities. In contrast
              to the period of art and curio chambers, the aim was
              now to own an impressive abundance of porcelain.
              By losing its character as a singular object, porcelain
              acquired a different status. Since most objects were
              in the form of vessels, their practical function or at
              least their potential use as tableware came to the fore.
              This, in turn, placed them within the household realm
              and more fi rmly in the area of female responsibility.
              However abundant, porcelain was still too precious to
              be put to everyday use and for inheritance purposes it
              remained outside the category of household goods.
              Thus, it could be inherited through the female line and
              under the legal systems of many German principalities
                                  101
              this was indeed the case.
              During her youth the as-yet unmarried Princess of
              Courland, Maria Amalia of Hesse-Kassel, had been
              a lady-in-waiting in Berlin and may have developed




              W OMEN COLLECTORS AND THE RISE OF THE P ORCELAIN C ABINET                               185



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