A pair of Weesp teabowls and saucers
Christie's charge a premium to the buyer on the fi… 顯示更多 A Collector's Vision: The G.A.H. Buisman Jzn. Collection of Dutch Porcelain. G.A.H. Buisman Jzn., already fond of Chinese and Japanese Ceramics, bought his first piece of Dutch porcelain because it read 'M.O.L.' on the bottom. It was a present to his wife who came from a family of reverends called Moll. Chance would have it that the object was produced by the factory of Joannes Mol, who was also a reverend. This coincidence - a family line could not be established - lead to one of the largest collections of Dutch Porcelain. Despite its beauty and originality, the porcelain produced in the Netherlands in the second half of the 18th century was never a commercial success. Factories only laste for short periods and their stock was taken over by their successors. Because the country lacked the raw materials for porcelain production, it was an extremely expensive process. The resulting low output makes the extant pieces very desirable for collectors today. The European porcelain production begun in Meissen in the early 18th century was followed by various other factories, mostly founded by the nobility for their own pleasure. The first porcelain factory in the Netherlands was founded by Count Gronsveld-Diepenbroick-Impel in 1759 at Weesp, near Amsterdam, with most employees coming from German factories. The products can be recognised by the yellowish colour of the porcelain and their elaborate rococo style. After the death of the count in 1772, the factory closed and the stock was taken over by the Reverend Joannes de Mol, who founded a new factory in Loosdrecht to address local employment. The large variety of shapes and decoration made this Loosdrecht porcelain very popular. Artists such as Nicolaas Wicart and Louis Victor Gerverot were contracted by De Mol to decorate the white porcelain with various scenes depicting landscapes and birds. With changing fashion, the wares were mostly in the neoclassical style. When this factory closed in 1784, the stock was taken over by the Amstel factory near Amsterdam, situated near today's Rembrandt Tower. A fine example of this factory is lot 386, an Amstel slop-bowl finely painted with a view of Maarssen. It is possibly by the hand of the artist Christian Zepp, who worked occassionally for the Loosdrecht, and later for the Amstel factory and who had his residence in Maarssen. In Amstel the production was continued until the early 19th century. At this time, to save labour and costs, some of the porcelain itself was imported from France. This method was also used in The Hague between 1776 and 1790, where porcelain from Tournai and Ansbach was imported to be painted with delicate scenes. Both biscuit and glazed objects were used, so sometimes the mark (a stork) is found under the glaze and sometimes over it. The trompe l'oeil chamberstick (lot 419 and front cover illustration) is a fine example of an Ansbach biscuit object decorated in the Netherlands. Comparable examples are in the Rijksmuseum, Amsterdam and Gemeentemuseum, The Hague. G.A.H. Buisman Jzn. collected these rare objects over 40 years. His collection gives a complete overview of the porcelain produced and decorated in the Netherlands during the 18th century. It has been exhibited at the Palais de Nations in Geneva in 2003 as 'Dutch Porcelain: The White Gold', in Museum Willet-Holthuysen in Amsterdam and more recently in Museum Geelvinck Hinlopen Huis, Amsterdam. Bibliography - A. den Blaauwen, 'Een Kom van Loosdrechts porselein', in: Verslag van de Vereniging Rembrandt, 1965, pp.30-31. - A. den Blaauwen, Hollands Porselein 1774-1784, Zwolle, 1988. - A. van den Broek, 'Aangename gezichten in de omstreken van Haarlem op Haags porselein', in: Mededelingenblad Nederlandse Vereniging van Vrienden van de Ceramiek, 139, 1990/3, pp. 10-18. - J.D. van Dam, 'De productie van porselein en faïence in Nederland (1755-1775)', in exhibition catalogue: Rococo in Nederland, Amsterdam, 2001, pp. 43-51 and cat. no.125-136. - F. Baron van Heeckeren van Waliën, Catalogus van de collectie Weesper Porselein, Gemeentemuseum Weesp, 1977. - M. Heijenga-Klomp, Nicolaas Wicart, 1748-1815, landschapstekenaar en porseleinschilder, Alphen a/d Rijn 2003. - B. Jansen, exhibition catalogue Haags Porselein 1776-1790, Haags Gemeentemuseum, April-June 1965. - D. van Krevelen, 'Vroeg-Weesper porselein met afbeeldingen van de stichter van de manufactuur en zijn echtgenote', in: Antiek, April 1979, pp. 610-619. - C. Scholten, Haags porselein 1776-1790, Een 'Hollands' product volgens de internationale mode, Zwolle, 2000. - E. Schrijver, Hollands Porselein, Bussum, 1973. - C. Willems en M. Willems-Hendrix, 'Amstelporselein in Empirestijl', in: Antiek, January 1985, pp. 289-301.
A pair of Weesp teabowls and saucers

1759-1769, BLUE CROSSED SWORDS AND THREE DOTS MARK, THE CUPS INCISED 2, ONE SAUCER INCISED

細節
A pair of Weesp teabowls and saucers
1759-1769, BLUE CROSSED SWORDS AND THREE DOTS MARK, THE CUPS INCISED 2, ONE SAUCER INCISED
Painted with figures drinking and at various pursuits in the style of Teniers, within rocaille gilt cartouches, with further small russet sprays and insects, the russet borders with stylised motifs (wear to the gilding) (4)
來源
The I.S. de Vries Collection of Dutch Porcelain; Christie's, Amsterdam, 6 November 1990, lot 185.
出版
Schrijver, 1973, ill.1.
注意事項
Christie's charge a premium to the buyer on the final bid price of each lot sold at the following rates: 23.8% of the final bid price of each lot sold up to and including €150,000 and 14.28% of any amount in excess of €150,000. Buyers' premium is calculated on the basis of each lot individually.