D2568. Pair of Polychrome Oval Plaques

Delft, circa 1760

Unidentifiably marked K in blue

Each painted in the center with a courting scene in blue surrounded by floral borders enclosing four cartouches with shipping scenes of Dutch Galleons flying the red, white and blue flag alternated with cartouches of formal hedged gardens.

DIMENSIONS
Height: 36.5 cm. (14.4 in.);
Width: 32 cm. (12.6 in.)

PROVENANCE
The collection of Cornelis Paulus van Pauwvliet (1937-2022), 2023;
Aronson Antiquairs, Amsterdam 1996;
Sold at Sotheby’s, Amsterdam, Porcelain and Glass, 20 March 1996, Lot 45;
The collection of Joachim Davids, Rotterdam (paper label to the reverse)

LITERATURE
Illustrated and described in the handbook of TEFAF Basel, 1996

NOTE
The decoration on this pair of Delftware plaques is derived from engravings or prints, possibly inspired by the works of Petrus Schenk (1660–1711) or Johann Esaias Nilson (1731–1788). Schenk, known for influencing designs on Chinese export porcelain, produced several sets of engravings depicting Dutch landscapes and architectural views. These included illustrations of the gardens of prominent Dutch country houses such as Duinrell, Rozendael, and the Royal Palace of Het Loo, collectively published in Paradisium oculorum; sive Conspectus elegantissimi centym… in 1703. Another notable source from the period is De Segepraalende Vecht, Vertoonende verscheidene Gesichten van Lustplaatsen, published in Amsterdam in 1719. This work contains 98 engravings by Daniel Stoopendaal (1672–1726), showcasing houses and gardens along the Vecht River—a popular motif in both Dutch prints and Delftware of the era.

Johann Esaias Nilson, a German artist from Augsburg, may also have served as a source for these plaques. The design is most likely based on an engraving by Nilson, dated circa 1760 and now held in the Rijksmuseum in Amsterdam (inv. no. RP-P-2011-173-24). In adapting Nilson’s print, the central standing couple was modified for the present plaques: the man’s walking stick was omitted, and changes were made to the attire of
both figures.

These plaques stylistically correspond to another pair of plates and plaques depicting a similar scene inspired by Nilson’s work, illustrated Aronson 2008, pp. 76–77. The recurring motif of a couple strolling before a fence demonstrates the enduring appeal of this imagery in Delftware and decorative ceramics.

The influence of Nilson extended beyond Delftware, inspiring the decoration of eighteenth-century German porcelain and Arnhem faïence. This cross-cultural exchange underscores the widespread impact of Nilson’s work on European decorative arts. The present pair of plaques reflects the adaptability of his designs in Delftware production, illustrating how his imagery resonated across various artistic traditions and mediums
during the eighteenth century.

Available