Lot Essay
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DELFTWARE 'PYRAMIDS'
In a passage probably relating to De Grieksche A in Delft in his diary of his visit to the Netherlands in 1687, the Swedish architect Nicodemus Tessin (1654-1728) mentions gröste blumentopffe (Note 1). This presumably relates to the so-called tulip vases virtually exclusive to that factory and, if so, is the earliest known mention of them so far. They are generally associated with the court of William and Mary (Note 2), but documentation on them is as scarce as the vases themselves.
The arranging of flowers in vases was not such a common practice in the 17th Century as flowerpieces might suggest: historically reliable representations of interiors with flower vases are equally rare (Note 3). An Italian engraving published in Amsterdam in 1684 is generally regarded as the model for the later Delftware vases (Note 4) and Persian models could have played a part in their evolution. But other forms are known which could also have contributed to it. Three flowervases of English Delftware in a form derived from syrup jugs and dated 1650, 1661 and 1671 respectively (Note 5) show that experiments were already in hand in this direction in the third quarter of the Century. No Dutch equivalents are known, but these vases certainly link up typologically with the later Dutch ones. A Delftware prototype recently came to light too: a large bowl with a smaller one on a stand inside it, both with pierced rims, which must date from ca. 1670-80.
These precursors mark the beginning of the development towards variety and complexity which was well under way by the 1690's with De Griekse A playing the leading role. The most important form was the pyramid or obelisk type for it is precisely this that is associated with the court of William and Mary (Note 6) and specifically with the advent there of Daniël Marot (Note 7). The iconology of the obelisk also played a vital part in this development. It was confused with the pyramid and associated with Antique civilization (Note 8), particularly as a funerary symbol. It figures prominently in funeral processions and ceremonies at the court of Louis XVI and was similarly used by Marot (Note 9). It also appeared at triumphs and state banquests (Notes 10,11) on the basis of its significance in 16th Century emblematical literature as an emblem of the fame of the ruler (Note 12). That the pyramidal vase was an expression of royal renown in the palace interior seems to be confirmed by the decoration on one at Hampton Court specially designed for William III, which bears on the base a bust of him, a putto with a stork and a peacock, symbol of the radiance of the prince's virtues (Note 13). The virtues themselves appear on these vases too (Note 14).
The exotic associations evoked by these vases are exemplified by their incorporation into a Chinoiserie scene on a Delftware vase at Douai and by a very unusual pagoda tulip vase by Adriaen Kocks (Note 15). These associations may be based on descriptions and illustrations of porcelain pagodas by Nieuhoff and Kirchner (Note 16), Kirchner specifically suggesting links between these and Egyptian obelisks. The association is further confirmed by the arrangement of porcelain in the form of large obelisks in the cabinet at Oranienburg in 1688 (Note 17) and a more modest version of this at Honselaersdijk (Note 18)
Thus the pyramid vase, as a conflation of the Humanist ideal of the prince and the Baroque Chinoiserie mode of Northern courts, was an exclusive symbol in the circles around William and Mary. Its popularity rapidly waned after the death of William II in 1702.
Notes
1. Dr. Gustaf Upmark Ein Besuch in Holland 1687 aus den Reiseschilderungen des Schwedischen Architekten Nicodemus Tessin d.J Oud Holland, 1900, p. 152
2. For a good survey of old literature see D.F. Lunsingh Scheurleer, Niederländische Fayence, Delft, 1976, ill. 6
3. idem, p. 86
4. Michael Archer, Pyramids and Pagodas for flowers, Country Life, January 1976, ill. 6
5. Louis L. Lipski and Michael Archer,'Dated English Delftware, London 1984, nrs. 1564-1566
6. This has been pointed out by A.H.L.E.Erkelens, Delfts aardewerk op het Loo, Nederlands Kunsthistorisch Jaarboek, nr. 31 p. 271; Research concerning early Dutch records of tulipières in the Court circles should be recommended. Setting aside the palaces of the Oranje family, where various tulipières could be found (e.g Honselaersdijk), Hans Willem Bentinck probably possessed a piled-up tulipière, now in the hands of one of his descendants; and at least before 1737 4 porceleijnen pyramides and 3 blouwe pyramides delfs could be found in the country estate of Nienoord (Leek), belonging to Georg Wilhelm van In- en Kniphuizen, a Groningen country squire frequenting the circles of Willem III (Rijksarchief Groningen, Huisarchief Nienoord, nr. 825, fol 29 and 37).
7. Arthur Lane, Daniel Marot; designer of Delft vases and gardens at Hampton Court, The Connoisseur, 1949, pp. 19-24
8. D. van Bleyswijck, Beschrijvinge der Stadt Delft, Delft 1676, p. 844
9. Frits Scholten, Daniël Marot, ontwerper van grafmonumenten, in K. Ottenheym Daniël Marot en Den Haag, 1988
10. Stefan Bursche, Tafelzier des Barock, München 1974, ill. 22, 27 11. D.P. Snoep, Praal en Propaganda, triumfalia in de noordelijke Nederlanden in de 16de en 17de eeuw, Alphen aan de Rijn 1975, ill. 62 12. Cesare Ripa, Iconologia of uytbeeldingen des verstands, (ed. D.P. Pers) Amsterdam, 1644, pp 440-441
13. A. Henkel, A. Schöne, Emblemata Handbuch zur Sinnbildkunst des XVI und XVII Jahrhundert, Stuttgart 1967, p. 809
14. Cat. Christie's London, 'Reddish House' Broadchalke, Wiltshire, 9/10-8-8-1980, nr. 5343 and Archer, op. cit., ill. 3
15. Archer, op.cit, ill.2
16. Johan Nieuhof, Het Gezantschap der Neerlandtsche Oost-Indische Compagnie...' (ed. Van Meurs), Amsterdam 1655; Athanasius Kirchner, China Monumentis, Amsterdam 1667 (Ned.ed. 1668)
17. Joan Wilson, A phenomenon of Taste, The China Mode of Queen Mary, Amsterdam Apollo, august 1972, pp. 116-123, ill, 3
18. Upmark, op.cit., p. 146
Frits Scholten (english summaries by Patricia Wardle)
with kind permission of Mededelingenblad Nederlandse Vereniging van Vrienden van de Ceramiek.
A PAIR OF VERY LARGE DUTCH DELFT BLUE AND WHITE NINE-TIERED PYRAMIDAL TULIPIERES (tulipières), consisting of an obelisk finial and eight storeys of boxes above a large base
Details
A PAIR OF VERY LARGE DUTCH DELFT BLUE AND WHITE NINE-TIERED PYRAMIDAL TULIPIERES (tulipières), consisting of an obelisk finial and eight storeys of boxes above a large base
- the large rectangular hollow quadrupod pedestal base with a square platform applied with four figures of light-blue recumbent calves painted with blue dots, pierced with holes to support the first tier, the sides of the base depicting four female figures dressed in flowing garments representing Four Virtues within rocaille scrolled cartouches flanked by mermaids, the figures clad in flowing garments standing on fruitvignettes with lion's masks; FAITH holding an open book and a cross, her foot rests on a stone block; HOPE standing on an anchor; LOVE or CHARITY holding a small child, two other children clustered beside her, one child with pointing finger, the other holding a toy windmill; JUSTICE is blindfolded and holding a pair of scales and a sword, the panels divided by vertical bands of fruit pending from bow ornaments, and horizontal sloping bands of foliage, the lower rim with a continuous dentilled band, on four large ball and claw feet, the base with a large circular opening
46 cm high, 27.5 cm wide
- the first box with shoulders supporting four tubular openings to the corners modelled as grotesque monkey-type mascaroons, painted to the upper part with scantily clad cherubs picking flowers in lush gardens, the lower part painted with a sloping foliage band above a continuous lappet band, on four small feet
14 cm high, 26 cm wide
- the second box similarly decorated to the preceding and painted to the upper part with birds in lush gardens, the lower part with a sloping foliage band above a continuous band of rosettes, with receded base
11 cm high, 20 cm wide
- the third box similarly decorated to the preceding and painted to the upper part with herons with stretched necks, the lower part with a sloping foliage band above a continuous band of scrolls, with a receded base
11 cm high, 20 cm wide
- the fourth box similarly decorated to the preceding and painted to the upper part with herons with bent necks, the lower part with a sloping foliage band above a continuous band of arched dots, with a receded base
10 cm high, 18 cm wide
- the fifth box similarly decorated to the preceding and painted to the upper part with herons with turned necks, the lower part with a sloping foliage band above a continuous dentilled band, with a receded base
10 cm high, 15.5 cm wide
- the sixth box similarly decorated to the preceding and painted to the upper part with large lappets, the lower part with a sloping foliage band above a continuous band of dentills and stylized leaves, with a receded base
9 cm high, 12 cm wide (the more recent tier 10 cm high, 13.5 cm wide)
- the seventh box similarly decorated to the preceding and painted to the upper part with large lappets reserved with flowerheads, the lower part with a sloping foliage band above a continuous band of dentills, with a receded base
11 cm high, 10 cm wide
- the obelisk finial with zig-zag panels, the upper part painted with lappets, the lower part with a sloping foliage band above a continuous band of scrolls, with a receded base 17 cm high, 8 cm wide
all pieces numbered 1 or 2 (one obelisk finial new; one sixth box of later date) de Grieksche A, Adriaen Kocks, circa 1690
126 cm high (piled up)
These tulipières have representations of Four Virtues, which can be applied to monarchs, they are made up of the three 'theological virtues' faith, hope and charity (I Cor. 13:13), and one of the four 'cardinal virtues', justice, prudence, fortitude and temperance. The latter were formulated by Plato in the Republic (4:427 ff) as the virtues required of the citizens of the ideal city-state. The Church fathers sanctioned these as Christian.
Faith here holds an open book and a cross as a representation of the Scriptures, the stone block on which her foot rests represents the unshakeable foundation.
Hope stands on an anchor. This derives from St. Paul who said of hope (Heb.6:19), 'It is like an anchor for our lives ... it enters in through the veil.'.
Charity, the foremost of the three 'theological virtues', here possibly derives from the old image of the Virgo Lactans, the woman suckling two infants.
Justice holds the usual attributes; a sword as an emblem of her power, the scales and her blindfolding to signify her impartiality.
(Full condition report on request) (2)
- the large rectangular hollow quadrupod pedestal base with a square platform applied with four figures of light-blue recumbent calves painted with blue dots, pierced with holes to support the first tier, the sides of the base depicting four female figures dressed in flowing garments representing Four Virtues within rocaille scrolled cartouches flanked by mermaids, the figures clad in flowing garments standing on fruitvignettes with lion's masks; FAITH holding an open book and a cross, her foot rests on a stone block; HOPE standing on an anchor; LOVE or CHARITY holding a small child, two other children clustered beside her, one child with pointing finger, the other holding a toy windmill; JUSTICE is blindfolded and holding a pair of scales and a sword, the panels divided by vertical bands of fruit pending from bow ornaments, and horizontal sloping bands of foliage, the lower rim with a continuous dentilled band, on four large ball and claw feet, the base with a large circular opening
46 cm high, 27.5 cm wide
- the first box with shoulders supporting four tubular openings to the corners modelled as grotesque monkey-type mascaroons, painted to the upper part with scantily clad cherubs picking flowers in lush gardens, the lower part painted with a sloping foliage band above a continuous lappet band, on four small feet
14 cm high, 26 cm wide
- the second box similarly decorated to the preceding and painted to the upper part with birds in lush gardens, the lower part with a sloping foliage band above a continuous band of rosettes, with receded base
11 cm high, 20 cm wide
- the third box similarly decorated to the preceding and painted to the upper part with herons with stretched necks, the lower part with a sloping foliage band above a continuous band of scrolls, with a receded base
11 cm high, 20 cm wide
- the fourth box similarly decorated to the preceding and painted to the upper part with herons with bent necks, the lower part with a sloping foliage band above a continuous band of arched dots, with a receded base
10 cm high, 18 cm wide
- the fifth box similarly decorated to the preceding and painted to the upper part with herons with turned necks, the lower part with a sloping foliage band above a continuous dentilled band, with a receded base
10 cm high, 15.5 cm wide
- the sixth box similarly decorated to the preceding and painted to the upper part with large lappets, the lower part with a sloping foliage band above a continuous band of dentills and stylized leaves, with a receded base
9 cm high, 12 cm wide (the more recent tier 10 cm high, 13.5 cm wide)
- the seventh box similarly decorated to the preceding and painted to the upper part with large lappets reserved with flowerheads, the lower part with a sloping foliage band above a continuous band of dentills, with a receded base
11 cm high, 10 cm wide
- the obelisk finial with zig-zag panels, the upper part painted with lappets, the lower part with a sloping foliage band above a continuous band of scrolls, with a receded base 17 cm high, 8 cm wide
all pieces numbered 1 or 2 (one obelisk finial new; one sixth box of later date) de Grieksche A, Adriaen Kocks, circa 1690
126 cm high (piled up)
These tulipières have representations of Four Virtues, which can be applied to monarchs, they are made up of the three 'theological virtues' faith, hope and charity (I Cor. 13:13), and one of the four 'cardinal virtues', justice, prudence, fortitude and temperance. The latter were formulated by Plato in the Republic (4:427 ff) as the virtues required of the citizens of the ideal city-state. The Church fathers sanctioned these as Christian.
Faith here holds an open book and a cross as a representation of the Scriptures, the stone block on which her foot rests represents the unshakeable foundation.
Hope stands on an anchor. This derives from St. Paul who said of hope (Heb.6:19), 'It is like an anchor for our lives ... it enters in through the veil.'.
Charity, the foremost of the three 'theological virtues', here possibly derives from the old image of the Virgo Lactans, the woman suckling two infants.
Justice holds the usual attributes; a sword as an emblem of her power, the scales and her blindfolding to signify her impartiality.
(Full condition report on request) (2)
Literature
F. Scholten, Mededelingenblad Nederlandse Vereniging van Vrienden van de Ceramiek, nrs. 130/131, 1988/2 (anniversary volumes for Daan Lunsingh Scheurleer, compiled by Christiaan Jörg), p. 48 for an illustration and a description of these tulipières.
Further details
END OF SALE