Lot Essay
'Perhaps the most noteworthy Dutch plastic invention is the great pyramidal many-tiered hyacinth vase' (W.B. Honey, European Ceramic Art, London 1947, p. 161). Nobody would argue with this sentiment, but this major series of pieces, of which the present lot is a classic example, are due as much to an English Queen, Mary, wife of William III and a French Huguenot designer, Daniel Marot.
All these tiered tulipières would seem to have been designed and produced within a very short period. They were destined for William and Mary's projected new rooms at Hampton Court Palace and for the houses of prominent members of their court. Mary's untimely death in 1694 effectively put a stop to these plans and the production of these monumental pieces seems to have ceased.
It is possible to interpret the vases and their decoration as an invocation of eternal peace and prosperity and thus as symbolic statements of the intentions of William and Mary and their court. The obelisk can be read as representing Eternity; the Seasons allude to the cyclical nature of Time; the drumming cherubs, amorini and shell-badges are emblematic of Peace; the cornucopiae, Prosperity; the part-armoured busts, the triumphant god of war who has put aside his weapons in time of Victory. These allusions are supremely appropriate to the reign, which was a time of peace and prosperity ushered in by the 'Glorious Revolution'. This symbolism is conveyed in a complex stylistic language which is a contemporary fusion of chinoiserie and classical styles.
After the death of William in 1702, all things Dutch went sharply out of fashion; it is most probable that many pieces were dispersed among his entourage. This may well be the case with this pair of tulip vases, for Sir William Joliffe was an ardent supporter of William III and was one of those anxious to erect a statue to his memory in the 1740's.
All these tiered tulipières would seem to have been designed and produced within a very short period. They were destined for William and Mary's projected new rooms at Hampton Court Palace and for the houses of prominent members of their court. Mary's untimely death in 1694 effectively put a stop to these plans and the production of these monumental pieces seems to have ceased.
It is possible to interpret the vases and their decoration as an invocation of eternal peace and prosperity and thus as symbolic statements of the intentions of William and Mary and their court. The obelisk can be read as representing Eternity; the Seasons allude to the cyclical nature of Time; the drumming cherubs, amorini and shell-badges are emblematic of Peace; the cornucopiae, Prosperity; the part-armoured busts, the triumphant god of war who has put aside his weapons in time of Victory. These allusions are supremely appropriate to the reign, which was a time of peace and prosperity ushered in by the 'Glorious Revolution'. This symbolism is conveyed in a complex stylistic language which is a contemporary fusion of chinoiserie and classical styles.
After the death of William in 1702, all things Dutch went sharply out of fashion; it is most probable that many pieces were dispersed among his entourage. This may well be the case with this pair of tulip vases, for Sir William Joliffe was an ardent supporter of William III and was one of those anxious to erect a statue to his memory in the 1740's.