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A DUTCH DELFT (DE GRIEKSCHE A) BLUE AND WHITE MASSIVE BALUSTER CHINOISERIE VASE

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.
A DUTCH DELFT (DE GRIEKSCHE A) BLUE AND WHITE MASSIVE BALUSTER CHINOISERIE VASE

1678-85, BLUE SVE MONOGRAM FOR SAMUEL VAN EENHOORN

Details
A DUTCH DELFT (DE GRIEKSCHE A) BLUE AND WHITE MASSIVE BALUSTER CHINOISERIE VASE 1678-85, BLUE SVE MONOGRAM FOR SAMUEL VAN EENHOORN Painted in the manner of the Chinese Transitional Period, with two seated Oriental figures dividing two large groupings of figures in stylised landscapes with trees, rockwork and buildings, one group with an elderly figure escorted by three attendants and a turbanned figure, one holding an elaborate parasol, with four further figures including a musician seated to the left, the second group of figures with a dignitary with seven attendants, one holding a parasol, another on horseback and another with offerings, below a border of eight large trefoil blue-ground lappets reserved with scrolling foliage and flowers and divided by pendant symmetrical foliage, the waisted lower part with a broad horizontal blue band with flowering branches and reserved with four ogival quatrefoil landscape vignette panels, above a band of elongated lappets divided by heart-shaped panels (slight chipping and flaking to rim, extensive chipping and flaking to footrim, crack from footrim to lower part) 27 in. (68.5 cm.) high
Special Notice

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.

Lot Essay

For a vase of similar scale and decoration, see Dave and Robert Aronson, Dutch Delftware (Amsterdam, 2004), pp. 56-58. The present lot is a little richer in the decoration of the lappets on the shoulder, which appear to be related to the designs of Daniel Marot. Both vases show the level of quality that Samuel van Eenhoorn had achieved at De Grieksche A pottery. The scale of the vase is in itself a testament to the prosperity and prestige of van Eenhoorn's pottery, which supplied pieces to the House of Orange. He was one of the most influential of pottery proprietors, being one of three men sent to England in 1684 to represent the Delft potteries protesting against the embargo the English had placed (in 1672) on importation of Dutch Delftware. For an octagonal section vase of similar form, size and decoration, see Elisabeth Neurdenburg and Bernard Rackham, Old Dutch Pottery and Tiles (London, 1923), pl. XXVII, fig. 42.

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