Page 24 - For the Love of Porcelain

be mentioned. 16 This type was developed rare, but must have circulated among the
around 1620 and was popular until the end lower classes as is indicated by archaeological
of the seventeenth century. The surviving finds in city centres (fig. 8).
examples are sometimes mistakenly called
communion chalices but at the time they As stated earlier, it is unlikely that a silver
were primarily bought and used by the beaker was sent to the kilns in Jingdezhen.
wealthy. The religious connotation is due to Given the extraordinary decoration, it can
the fact that later they often had a second be assumed that a wooden model was sent
life and were preserved in Dutch churches. with a painted or drawn decoration that
Their mundane use is highlighted on several either was based on a real silver beaker or on
still life paintings of the Dutch Golden Age, a print from a model book. A second option
where they are shown with expensive glass, is to assume that a pewter beaker was sent
porcelain, fruits and textiles. A particularly and used.
interesting painting by Willem Claesz Heda,
dated 1638, prominently shows a silver The Dutch connection is evident, but it is
beaker with a related engraving (fig. 6). not known who so daringly ordered this
7 as the model for the Chinese potter. Such a beaker, a piece that did not fit into the then
Front page of the ‘Spits- model had to be given to the Chinese junk The decorations on these silver beakers existing conventions. It would not have
boeck’ by P.R.K., engraved captain in Taiwan, who gave it to a porcelain usually consist of standardised motifs that been the Company, which had to make a
by C.L. Visscher, a model dealer in southern China, who, in turn, sent are combined in various ways. Engravers profit and was not keen on buying unusual
book for gold and it to the kilns that specialised in export wares could use model books with a variety of such porcelains that were risky to auction. But
silversmiths, in Jingdezhen. A pewter example might have motifs, such as the ‘Spits-boeck’ from 1617 whomever the private person was who
Amsterdam 1617, survived such a journey, but beakers made (fig. 7) or the prints issued by the Groningen ordered it, he or she unknowingly called
17
9 x 15 cm, Rijksmuseum of silver were worth a lot of money in the silversmith Adriaen Muntinck in 1610/2. into existence what most probably can now
Amsterdam, Chinese silver-based economy and would that has all characteristics of true Chine Pewter beakers of the same shape and a be regarded as the first example of real Chine
inv. no. RP-P-2011- likely have ‘disappeared’ en route. The first de Commande. 14 The shape is traditional, related engraved decoration now are very de Commande for the Dutch!
114-1 orders therefore were not based on actual with a slightly spreading and rounded base,
objects, but on wooden replicas. These were spreading sides and an unglazed inner rim
8 either painted in Batavia or in Taiwan by (it once may have had a cover). The beaker
12
Pewter beaker, mid -17th Chinese craftsmen with Chinese scenes , stands on a sturdy footrim and the base is
Notes
century, h. 17.9 cm, or were simply wooden shapes, with the glazed. The decoration, however, is most
Museum Boijmans Van painters at the workshops in Jingdezhen unusual (figs. 1–3). Around the rim is a
1 Eva Ströber, Ming Porcelain for a Globalised the ships De Rijp, Otter, Breda and Petten. 13 See the ewer in the Princessehof National
Beuningen, Rotterdam, deciding on the decorations. A porcelain band with flower and leaf scrolls contained Trade, Stuttgart 2013, pp. 212–14 and 220–24, 6 See Viallé 1992 (note 2), p. 19, for the order Museum of Ceramics, Leeuwarden, published
on loan from Stichting example from an earlier consignment could within a frame of strapwork. From this band ills. 92, 93, 107–23. referring to the models sent from Amsterdam; by D.F. Lunsingh Scheurleer 1989 (note 11),
2 T. Volker, Porcelain and the Dutch East India idem p. 22 for the quotation. ill. 50. For a different ewer with cherub heads
Museum Boijmans Van be used for additional orders. are three pendant groups of large curling
Company, Leiden 1954, pp. 34–64; R. Kilburn, 7 See note 5. in Museum Boymans van Beuningen,
Beuningen, flower sprays, separated by bunches of Transitional Wares and Their Forerunners, Hong 8 Volker 1954 (note 2), pp. 48–49. Rotterdam, see Christiaan J.A. Jörg, Oriental
inv. no. OM 133 The Chine de Commande example grapes held by a ribbon. Around the base is Kong 1981, pp. 24–40; S. Little, Chinese 9 Idem, p. 53. In 1645, on 28 October, 267 Porcelain. A Choice from the Boymans-van
Ceramics of the Transitional Period: 1620–1683, beakers were sent to Batavia on the ship Beuningen Museum Collection, Rotterdam
(KN&V), As stated, all presently known beakers are another band with flower and leaf scrolls. In New York 1983, pp. 1–15; C. Viallé, ‘The Zutphen as part of one of the last shipments 1995, pp. 19–20, cat. no. 4. See also S. Little
photo Tom Haartsen, decorated in Chinese style and therefore this unique case, not only the shape but also Records of the VOC Concerning the Trade in of porcelains, see idem, p. 54. 1983 (note 2), fig. 52.
Ouderkerk a/d Amstel belong to a large group of Transitional the decorations were derived from a Dutch Chinese and Japanese Porcelain between 10 Viallé 1992 (note 2), pp. 11, 14. 14 According to the owner, the beaker has
1634 and 1661’, in Aziatische Kunst 22(3) 11 Kilburn 1981 (note 2), p. 102, no. 45; D.F. been ‘in the family’ for some time, but no
export porcelains with European shapes metal beaker, most probably a silver one. (September 1992), pp. 6–25; Christiaan Lunsingh Scheurleer, Chine de Commande, further provenance is known.
and Chinese designs. Accordingly, within Such beakers with a more or less closely J.A. Jörg, ‘Chinese Porcelain for the Dutch in Lochem 1989, p. 72, no. 52 (Princessehof 15 I am most indebted to Prof. Dr. Johan ter
the Seventeenth Century: Trading Networks National Museum of Ceramics, Leeuwarden); Molen for his information on related Dutch
this category, many pieces show the so- related engraving are well known and were
and Private Enterprise’, in R.E. Scott (ed.), The Jörg 1993 (note 2), p. 185 (Groninger silver beakers and on the use of such beakers
called ‘tulip’ motif, which was derived from made in several production centres in the Porcelains of Jingdezhen, Colloquies on Art & Museum, Groningen); W.R. Sargent, Treasures in Dutch society.
a Western source, and a few pieces have Northern Netherlands. 15 Two beakers, one Archaeology in Asia 16, London 1993, pp. of Chinese Export Ceramics from the Peabody 16 A.M. Koldeweij (ed.), Zilver uit ‘s-Hertogenbosch,
183–94. Essex Museum, New Haven/London 2012, p. Noord Brabants Museum, Den Bosch 1985, p.
minor details in Western style, like a band made in Schoonhoven around 1643, the 3 Viallé (note 2), pp. 8–9, letter of Batavia to 70, no. 11. 122, two beakers by Hendrick Isaackx, 1635/6;
with cherub heads, 13 but in all those cases other in Middelburg, serve as examples. Taiwan, June 27, 1634, VOC Archive no. 1111, 12 Viallé 1992 (note 2), pp. 10–13; Volker 1954 N.I. Schadee, Zilverschatten. Drie eeuwen
National Archives, The Hague. (note 2), pp. 37–38. Rotterdams zilver, Historisch Museum,
the main decoration is in Chinese style. They have a similar strapwork frame around
4 In the VOC documents ‘beeckers’ indicate Rotterdam 1991, cat. nos. 28 and 29, two
However, no rule is without an exception. the rim and comparable curling flower scrolls beakers used for dinking, not beaker vases. beakers by Adam de Swaen (?), 1638/40.
Recently a Transitional beaker was hanging from the border (figs. 4 and 5). 5 Volker 1954 (note 2), pp. 43–45. Cargo lists of 17 Egge Knol, Zilver in Groningen, Groninger
Museum, Groningen 2011, pp. 26–27.
discovered in a private Dutch collection Several other related Dutch beakers can also
20 I vormen uit vuur vormen uit vuur I 21