Page 61 - For the Love of Porcelain

7
Tympanum on the back
of Amsterdam Town
Hall, engraving by
Hubertus Quellinus in 9
J. van Campen and Gerard de Lairesse
J. Vennekool, Afbeelding (1641 - 1711), De
van ’t Stadthuys van Stedenmaagd van
Amsterdam (…), Amsterdam, ca. 1675,
Amsterdam 1661, oil on canvas,
Rijksmuseum, 130 x 144 cm,
Amsterdam, Amsterdam Museum,
inv. no. GF 382 B 22 inv. no. SA 34496

9
America’. In fact, his remark is a comforting porcelain=Asia, which is obvious to us, but
observation to conclude this essay. If he not to Ripa, was obvious to Taylor too.
could recognise ‘the triumph of Asia’ in And we will have to accept the fact that he
this painting, then it was only because mentioned neither Jiajing nor Portugal’s
of the porcelain vase. The relationship faded glory.

8
Detail of ig. 7
Notes

1 E. Kolfin, ‘Omphalos Mundi: The Pictorial 4 J. van Campen and J. Vennekool, Afbeelding 6 J. van Tatenhoven, ‘Miscelanea 3. Gerard
Tradition of the Theme of Amsterdam and the van ’t Stadthuys van Amsterdam (…), Lairesse (1640–1711)’, Delineavit en et sculpsit
The choice of a Jiajing vase is also intriguing porcelain, entirely different from the Jiajing Four Continents, circa 1600-1665’, in Amsterdam 1661, often bound together with 11 (1993), p. 29. fig. 6. In a drawing made as
W.A. Boschloo et al. (ed.), Aemulatio; Imitation, H. Quellinus, Prima [et secunda] pars a pre-study by Lairesse, the porcelain is,
because Amalia can arguably be identified jar in the painting.
Emulation and Invention in Netherlandish Art praecipuarum eigierum ac ornamentorum however, still absent. In this drawing, the
as the pre-eminent seventeenth-century from 1500 to 1800; Essays in Honor of Eric Jan amplissimae Curiae Amstelodamensis, the first woman holding the plate reaches over a
porcelain collector. In 1642, she received a And what about her contemporaries? Did Sluijter, Zwolle 2011, pp. 382–92. [and second] part of the voornaemste statuen large cloth-wrapped bundle in the same
2 K.H. Corrigan et al. (ed.), Asia in Amsterdam; ende cieraten van ’t konst-rijcke stadt-huys van posture as in the painting.
large quantity of porcelain – 642 pieces – as they also notice that the jar was so old? And The Culture of Luxury in the Golden Age (exh. Amstelredam, Amsterdam 1655. 7 M. van Eikema Hommes and E. Kolfin,
a gift from the Dutch East India Company did they understand its nuanced meaning? cat. Rijksmuseum and Peabody Essex 5 A. Jager, ‘Als koningin op de troon; de ver- De Oranjezaal in Huis ten Bosch; een zaal uit
Museum), Salem, etc. 2015, no. 2. heerlijking van de Amsterdamse zeevaart’, loutere liefde, Zwolle 2013.
(VOC), and in 1648 and 1649, at the same Nothing to that effect is found in the
3 O.D. Dapper, Historische beschryving der stadt Amstelodamum 95(3-4) (2008), pp. 67–80. 8 Corrigan 2015, pp. 170–71 with references to
time that work was being carried out at Huis sources. An English traveller, Joseph Taylor, Amsterdam (…), Amsterdam 1663; [T. van other interpretations.
ten Bosch, she created new porcelain displays recognised the depiction of the continents Domselaer], Beschryvinge van Amsterdam (…), 9 K. van Strien, Touring the Low Counties;
Amsterdam 1665; F. von Zesen, Beschreibung Accounts of British Travellers, 1660–1720,
in the Oude Hof in The Hague. For this, in sections of the triumphal procession: der Stadt Amsterdam (…), Amsterdam 1664. Amsterdam 1998, p. 200.
she used the newest and most fashionable ‘the triumphs of Europe, Asia, Africa and
56 I vormen uit vuur vormen uit vuur I 57