Page 299 - Chinese and japanese porcelain silk and lacquer Canepa

by Dutch merchants, such as an example made by Jan Leendertsz. Pot in c.1600–1650
Fig. 3.4.2.1.29 Merchandise for the Asian Fig. 3.4.2.1.28 Transitional style
market recovered in 1877 from the ruins of blue-and-white candlestick
the Bohouden Huys (the secure house) on Jingdezhen kilns, Jiangxi province
the Russian Artic Island of Nove Zembla, Ming dynasty, Chongzhen reign (1628–1644),
abandoned in 1597 by Willem Barentsz c.1635–1644
Rijksmuseum, Amsterdam Height: 22.5cm
Groninger Museum, Groningen
(inv. no. 1989-0102)
are known in porcelain, and both are heavily potted. One is a tall, tapering cylindrical
tafel: De geschiedenis van het zoutvat, exhibition
tankard (Fig. 3.4.2.1.11) made after a Dutch pewter or tin-glazed earthenware model catalogue, Museum Boijmans Van Beuningen,
(Fig. 3.4.2.1.12), which in turn copied a German salt-glazed stoneware Schnelle Rotterdam, 1976, p. 55, no. 52 and p. 56, no. 54;
respectively.
(Fig. 3.4.2.1.13). Pewter or ceramic tankards of this shape were common household 943 I am grateful to my PhD supervisor, Professor Dr.
Christiaan J.A. Jörg, for pointing this out to me.
objects in the Dutch Republic in the early seventeenth century, used both by men and 944 Clayton, 1971, p. 220.
women, as shown in the painting The Housemaid by the Delft artist Cornelis Jacobsz 945 Until about 1500, salt was produced from domestic
sources. The Dutch then began importing raw sea
(1571–1643) of c.1600–1643 and by a print entitled Peace by the Amsterdam artist salt and rock salt first from Germany and France, and
later from Spain, Portugal and finally from the new
David Vinckboons published in 1610 (Figs. 3.4.1.1.12 and 3.4.2.1.14). This type of World. Mentioned in Berger Hochstrasser, 2007, p.
164.
porcelain tankard, like the original German model, has a loop handle with a small 946 Mentioned in Ibid., pp. 160 and 171. Pieter Claesz
hole in the top to fit a silver or pewter lid, which opens by a hinged mechanism. used the same silver hexagonal salt in several of his
still life compositions. The fact that other artists,
This is clearly seen in an example depicted in a still-life painting by the Middelburg like Floris van Schooten, also incorporated silver
artist Frans Ryckhals (1609–1647), dated 1640 (Fig. 3.4.2.1.15). Tankards of this hexagonal salts in their still life paintings attest to
968
the popularity of this shape. See, Vroom, 1945, p.
shape, usually decorated with a continuous narrative scene in the so-called Transitional 42, fig. 28, and p. 100, fig. 80; respectively. For a
discussion on a silver salt of triangular form made
style, must have been made to order in large quantities, as numerous examples are in Amsterdam in 1618, see Reinier Baarsen, ‘Een
known around the world. The other model of about the same size has a tapering or Amsterdams zilveren zoutvat uit 1618’, in Bulletin van
het Rijksmuseum, No. 37 (1989), pp. 51–72.
straight cylindrical body and a loop handle with a curved, pointed terminal and a 947 Published in Mariët Westermann, A Worldly Art. The
Dutch Republic 1585–1718, New Haven and London,
small loop at the top to attach a porcelain, silver or pewter lid (Fig. 3.4.2.1.16). 969 2007, pp. 146–147, fig. 108, and p. 181, fig. 130
Such tankards were made to order at the Shibaqiao kiln site in Jingdezhen, where (detail). Interestingly, all the tableware used at the
dinner table appears to be made of silver or pewter.
two shards were excavated (Figs. 3.4.2.1.17 and 3.4.2.1.18) (Appendix 2). Visual 948 This painting was previously attributed to Balthasar
970
van der Ast, in L.J. Bol, The Bosschaert Dynasty,
sources attest to the presence of this latter type of tankard in the Dutch Republic in Leigh-on-Sea, 1960, p. 86, no. 121, pl. 47b. It was
the early seventeenth century. An example, apparently with a porcelain lid mounted in sold at auction in Christie’s London, sale 7887, 7
December 2010, lot 21. I am grateful to Georgine
silver-gilt, decorated with three horizontal rows of stylized tulips, carnations and other van der Lugt, Old Masters & Early British Paintings
Department, Christie’s London, for granting me
flowers all floating in empty space (the plain white background) appears depicted in permission to include an image of this painting in this
the painting by Willem Claesz. Heda, dated 1638, illustrated earlier (Fig. 3.4.1.1.25). doctoral dissertation. Peter Claesz incorporated the
same silver hexagonal salt in other still life paintings.
An extant blue-and-white tall, cylindrical beaker with an everted rim in the Groninger See, for example, the painting published in Vroom,
1945, p. 42, no. 28.
Museum (Fig. 3.4.2.1.20) was most probably made after a pewter model provided 949 This painting, formerly in the possession of the
971
298 Silk, Porcelain and Lacquer
in the Museum Boijmans Van Beuningen in Rotterdam (Fig. 3.4.2.1.21). Pewter
beakers of this shape in turn copied a Dutch silver model originally intended for use
in a domestic context in the Dutch Republic. Such silver beakers appear depicted
on Dutch still life paintings, as seen in a slightly earlier painting by Willem Claesz.
Heda dated 1633 (Fig. 3.4.2.1.22). After the Protestant Reformation of the sixteenth
century silver beakers of this shape were also used to serve the consecrated communion
wine in the Reformed churches in both the Dutch Republic and the Dutch colonies in
the New World, such as the example that formerly served at the Reformed church of
Pieterburen in Groningen province (Fig. 3.4.2.1.23). The Jingdezhen potters copied
972
faithfully the pewter shape, but decorated it with a Chinese narrative scene in the so-
called Transitional style. Beakers are first mentioned in the memorandum sent in April
1638 from Amsterdam to Batavia discussed earlier. The fact that they are listed as
‘200 large as well as small beakers like the ones sent last, all without covers and a little
finer’ indicates that beakers had been imported earlier into the Dutch Republic. 973
Beakers are mentioned again in the order placed by the VOC in 1639, which states
that ‘On the beakers and the flowerjugs which Your Honour sent, the blue paint has
been laid on decently and well. The paintings on the porcelains are highly paid for by
the curious Europeans, as you will observe from the samples’. 974
Fig. 3.4.2.1.30 Transitional style
blue-and-white wall-tile
From a letter sent from Batavia to Tayouan in May 1641, we learn that ‘All other
Jingdezhen kilns, Jiangxi province porcelains like bottles, snellen, beakers, etc should be sent sparingly, or be omitted
Ming dynasty, Chongzhen reign (1628–1644)
Dimensions: 13.5cm x 13cm x 1.4cm altogether’. As noted by Viallé, by this time the demand for tall pieces of porcelain was
Groninger Museum, Groningen
already declining in the Dutch Republic. The Jingdezhen potters used the same type
975
(inv. no. 1982-0100)
of loop handle with curved pointed finial in blue-and-white wine pitchers decorated
Fig. 3.4.2.1.31 Delft blue-and-white wall-tile in the so-called Transitional style (Fig. 3.4.2.1.24), which were probably made after
Dutch Republic, c.1630–1650
Dimensions: 13cm x 13cm German lead-glazed earthenware jugs of c.1600 (Fig. 3.4.2.1.25). The decoration,
Guest & Gray, London (ref. J42A) similarly arranged in rows, but depicting whimsical winged cherubs alternating with
curling leaves scrolling symmetrically from a central bud, is also based on European
Marquess of Bath, Longleat House, Warminster, models. The ‘wine-jugs’ listed in the September 1636 memorial mentioned above may
Wiltshire, was sold at auction in Christie’s, sale
6682, 14 June 2002, lot 593. For a discussion on have referred to this shape of jug, and if so would have been part of the same order as
this painting and the identity of the young man the snelletjes.
portrayed, see Jensen Adams, 2006, pp. 29–46
950 According to Frederiks this salt originally stood on As mentioned earlier, models of mustard pots made of turned wood were first
six ball feet, which were replaced at a later date by
three lions bearing heraldic shields (13.7cm high). given to Chinese merchants in 1635, and again in 1638. Mustard pots dating to the
The engraved decoration follows the style of the Chongzhen reign have been recorded in two related shapes, both made in the so-
De Bry family and of the Amsterdam silversmith
Abraham van der Hecken (active 1608-after 1634). called Transitional porcelain. One type was made with a globular body standing on
Frederiks, vol. 2, 1958, p. 53, no. 176; and Jensen
Adams, 2006, p. 31. It is important to note, however, a splayed foot, a loop handle, and a domed lid with a hollow finial in the top (Fig.
that the pair of German salts discussed above is 3.4.2.1.26), copying faithfully Dutch tin or pewter models (Fig. 3.4.2.1.27). As
976
supported on claw ball feet.
951 Published in Theodorus van Kessel, Adam van mentioned earlier, two shards of this type of mustard pot were excavated at the WIC
Vianen: modelles artificiels de divers vaisseaux
d’argent, et autres oeuvres capricieuzes, The Hague, fortress of Fort Orange built in 1624. The other type differed in that it was made
1892, pl. 44; and Jensen Adams, 2006, p. 33, fig. 3. with a baluster body that could be plain or ribbed, and an elongated handle. The
977
I am grateful to Jan van Campen, Rijksmuseum, for
bringing to my attention that presently this silver salt hollow finial at the top served to hold a long-handled spoon, just like in the metal
is considered a fake.
952 This painting, formerly in the Colland Collection, original. Extant porcelain mustard pots of globular shape are usually decorated
978
is published in Berger Hochstrasser, 2007, p. 78. with continuous Chinese narrative or landscape scenes, or more rarely with phoenix
I am greatly indebted to the curator of the Palace
Het Loo for granting me permission to illustrate roundels alternating with stylized tulip and other flowers. Those of baluster shape
979
the painting. The sprigs of orange blossom and
the olives depicted in this painting are said to are decorated with a new design scheme consisting of sparse branches of flower sprays
have a propaganda significance borne out of the or a scholar’s table and a vase, against a plain white background. Both shapes usually
980
inscription Vivat Oraenge, as Jan Davidz. de Heem
made it during the first Stadholderless period had metal mounts added in Europe with a hinged system that allowed the lid to open
(1650–1672). I am grateful to Johnny van Haeften,
specialist in seventeenth century Dutch and Flemish and close, as seen in the globular example with a continuous scene depicted in the
Trade in Chinese Porcelain 299