The present jar can be attributed to De Drie Postelyene Astonne (The Three Porcelain Ash- Barrels) factory under the ownership of Gerrit Pietersz. Kam based on its shape and decoration. The pattern of birds amidst a profusion of flowering branches on the present jar has similarities with a pattern that was often used by De Drie Posteleyne Astonne (The Three Porcelain Ash-Barrels) factory under the ownership of Gerrit Pietersz. Kam from 1673 to 1700. Jars, vases, ewers and chargers were decorated with this elaborate floral pattern. A rather similarly modeled covered jar with this pattern is in the collection of the Rijksmuseum, Amsterdam (inv. no. BK-1968-142). Another one, lacking its cover, is also in the Rijksmuseum, Amsterdam (inv. no. BK- 1962-61). A third example, although of larger size, is also in the Rijksmuseum, Amsterdam (inv. no. BK- 1969-31).

Read more about the decoration and Baltic seaborne trade, in our in-depth-article from December 2023.

Attributed to Gerrit Pietersz. Kam, the owner of De Drie Posteleyne Astonne (The Three Porcelain Ash- Barrels) factory from 1679 to 1700

The ovoid body painted all over with birds perched on branches, birds in flight and flitting insects within a profusion of flowering branches, large blossoms and floral sprigs above a band of ruyi-heads alternated by stiff leaves, the shoulder with a band of demi-ruyi-heads below a diaperwork band reserved with four medaillons with daoist symbols, the cover with a band of ruyi-heads alternated by stiff leaves and the top with a blossomwithin a profusion of floral sprigs.