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Lot Essay
The scene is after a print by C.J. Visscher de Jonge, a Dutch engraver, who based his design on a drawing by Abraham Bloemaert (1564-1651). See D.S. Lunsingh Scheurleer, Chinese Export Porcelain, London, 1974, fig.207 for an illustration of this print, together with two plates of this design as figs. 206 and 298. The print is also illustrated in M. Roethlisberger, Abraham Bloemaert and his sons, Doornspijk, 1993, vol.II, fig.568, cat.403, and described in vol.I, p.270/71, where it is stated that fishing was a widespread symbol of amorous activity, based on the notion of the treacherous bait, with the fish trap alluding to the trap of love.
On porcelain this scene is found in famille rose enamels, en camaïeu rose and as in the present lot en grisaille, with a variety of borders. For an enamelled version with the same border as on this plate, see D.S. Howard, The choice of the private trader, 1994, p.83, pl.67, where the author explains 'After the initial, possibly V.O.C., order, variations would have been available to private merchants in Canton, probably with less expensive borders'.
On porcelain this scene is found in famille rose enamels, en camaïeu rose and as in the present lot en grisaille, with a variety of borders. For an enamelled version with the same border as on this plate, see D.S. Howard, The choice of the private trader, 1994, p.83, pl.67, where the author explains 'After the initial, possibly V.O.C., order, variations would have been available to private merchants in Canton, probably with less expensive borders'.