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Lot Essay
See H.P. Fourest, Delftware (London 1980), p.142-143 ill.139 for a fountain and basin with similar decoration.
A. Vecht, Black Delft, in: catalogue Gemeente musea Amsterdam Willet Holthuysen cat.322, 24 nov. 1962-15 jan. 1963
The manufacturers of that highly refined article "Delft doré" also applied black among the colours in the most handsome and costly samples, lending them a distinctive touch and doing so with great artistry and skill. Towards 1740 the type of Delftware known as "Delft au petit feu" originated, the various colours of which are enamelled at very low temperature on to the white glaze backgrounds, black also being used in the decoration. This is also the case with the type of Delft which originated at roughly the same time, due to the influence of Saxon porcelain, and which is known as "Delft à la manière de Saxe". Owing to the technique employed in the manufacture of these types, they can no longer be regarded as belonging to the actual Black Delft group. (op.cit.).
Only during quite a short period, diligent attempts were made at Delft to compete with European petit feu faience and porcelain, especially the creations of Meissen. These efforts resulted in the production of a variety of pieces.
The painter and the potter were both trying to make a resolute break with the Oriental style. Nevertheless the influence of Japan can still be recognized in some of the floral decoration and ornamental motifs used.
"Motley" is the disparaging term sometimes directed at the extended range of colours used, probably because those interested in Delftware are not accustomed to such variety in the palette.
A. Vecht, Black Delft, in: catalogue Gemeente musea Amsterdam Willet Holthuysen cat.322, 24 nov. 1962-15 jan. 1963
The manufacturers of that highly refined article "Delft doré" also applied black among the colours in the most handsome and costly samples, lending them a distinctive touch and doing so with great artistry and skill. Towards 1740 the type of Delftware known as "Delft au petit feu" originated, the various colours of which are enamelled at very low temperature on to the white glaze backgrounds, black also being used in the decoration. This is also the case with the type of Delft which originated at roughly the same time, due to the influence of Saxon porcelain, and which is known as "Delft à la manière de Saxe". Owing to the technique employed in the manufacture of these types, they can no longer be regarded as belonging to the actual Black Delft group. (op.cit.).
Only during quite a short period, diligent attempts were made at Delft to compete with European petit feu faience and porcelain, especially the creations of Meissen. These efforts resulted in the production of a variety of pieces.
The painter and the potter were both trying to make a resolute break with the Oriental style. Nevertheless the influence of Japan can still be recognized in some of the floral decoration and ornamental motifs used.
"Motley" is the disparaging term sometimes directed at the extended range of colours used, probably because those interested in Delftware are not accustomed to such variety in the palette.