Delft, circa 1760

Each finely painted in yellow, iron-red, manganese, blue and green with a luxuriant arrangement of a variety of flowers and foliage in a wicker basket set on further blossoms and flanked by two small flitting insects, the convex self-frame with a border of blossoms and foliate scrolls and pierced at the top with two holes for suspension; the reverse glazed.

DIMENSIONS
Square: 27 cm. (10.6 in.)

NOTE
Flower baskets are frequently depicted on seventeenth-century Dutch floral still life paintings. Ambrosius Bosschaert the Elder (1573-1621) is considered the first Dutch artist to have made a flower basket oil painting in 1607. This work is illustrated in the exhibition catalogue, Bouquets from the Golden Age: the Mauritshuis in bloom, The Hague (Mauritshuis)/ Zwolle 1992, no. 7. Balthasar van Ast (1593/94-1657), who was Bosschaert’s brother in-law and pupil, is known to have made paintings of a flower basket with a fruit basket as its pendant (Ibid, no. 3). 1690), the French artist who arguably created the Louis XIV style. Monnoyer was commissioned as a decorative painter in the various palaces of Louis XIV, including Versailles. He also designed cartoons of floral borders for the tapestries of the Gobelins and Beauvais manufactories. Invited by the English ambassador to France, Lord Montagu, he departed for England around 1685 to decorate the Montagu House in London, where he lived and worked for the remainder of his life. The Delft plaque painters did not have access to Monnoyer’s paintings and would have used prints as their source of imagery. However, the print source for the design of the present plaques remains untraced. Nevertheless, the beautifully hand-colored engraving by Monnoyer, published by Nicolas de Poilly in Paris before 1696, shows how appealing and influential these colorful prints must have been to the imaginative artisans at that time. Peter Fuhring in his publication, Ornament prints in the Rijksmuseum II: the seventeenth century (Amsterdam [Rijksmuseum]/Rotterdam 2004), p. 293 (no. 12360), states that this print is part of the series,‘Liures de Plusieurs Paniers de Fleurs’ (‘Books of Multiple Flower Baskets’), which is known to have been copied in the Netherlands. On p.280 (no. 12215), the author illustrates a basket from a copy of the series edited by Gerard van Keulen, published in Amsterdam circa 1690-1700, and also mentions another series of five Dutch prints copied after Monnoyer from this period, engraved and published by Johannes Teyler (possibly Nijmegen), which contains two plates with flower baskets (p. 280, nos. 12216-17).

Delft, circa 1760

Marked D in blue, attributed to Jan Theunis Dextra, owner of De Grieksche A (The Greek A) factory from 1757 to 1765

Painted in iron-red, yellow, iron-red, manganese, blue and green with a lush bouquet of flowers, such as a lily-of-the-valley, lily, carnation, anemone and peony in a blue and white vase, the self-molded frame with a blue ground reserved with iron-red scrollwork and leaf patterns, the top pierced with two holes for suspension; the reverse glazed.

DIMENSIONS
Height: 36.5 cm. (14.4 in.);
Width: 32.5 cm. (12.8)

PROVENANCE
Collection Maurice de Ramaix (1850-1918), Château de Grune, Belgium, before 1913

NOTE
Maurice de Ramaix (1850–1918), a distinguished Belgian diplomat, developed a profound appreciation for Delftware during his tenure in The Hague in the late ninenteenth century. His marriage to Marie Suermondt, of the prominent Suermondt family, further immersed him in elite circles where such artistry was esteemed. De Ramaix’s diplomatic assignments across Europe, combined with his scholarly interest in Dutch industry—articularly his admiration for De Porceleyne Fles (now known as Royal Delft)—deepened his passion for Delftware. His collection, later expanded by his son Gaston (1878–1937), became renowned for its exquisite seventeenth- and eighteenth-century pieces, which reflected themes of nature, historical narratives, and aristocratic patronage. Notably, the collection featured polychrome plaques adorned with avian motifs, exemplifying the family’s discerning taste and commitment to preserving Dutch ceramic artistry.

Delft, dated 1744

Each marked on the reverse with unidentified initials IVRB 1744 in blue

Each painted in blue, green, iron-red and yellow, with a three-layered dashed fountain flanked by birds in a stylized garden filled with flowers, C-volutes and scrollwork, the self-molded bframe with a blue-ground border reserved with floral scrollwork within blue lines and a band above the outer edge affixed at the top with a pair of leaf scrolls flanking the suspension hole.

DIMENSIONS
Height: 24.5 cm. (9.7 in.);
Width: 22 cm. (8.7 in.)

NOTE
Referred to as “porcelain paintings” in period household inventories, Delftware plaques were designed to be admired much like traditional paintings on panel, canvas, or copper. However, due to their visual similarity to prints and paintings, it is exceptionally rare to find contemporary representations that depict how they were originally displayed in seventeenth- and eighteenth-century interiors. By the late seventeenth century, Delftware plaques were distinguished by their refined craftsmanship and creative designs. Their shapes became increasingly stylized, with cut-out and molded contours enhancing their decorative appeal. The imagery on Delftware plaques was highly diverse, often reflecting contemporary artistic trends, social concerns, and prevailing tastes. Many plaques took inspiration from canvas paintings or prints, the
latter often based on original paintings.

A widely used reproduction technique involved pouncing, a method by which designs were transferred from prints onto ceramics. This process entailed perforating the print to create a stencil and then dusting fine charcoal powder (known as ‘pounce’) through the perforations. The resulting dotted outline provided a guide for painting the motif, with the charcoal powder burning off during the glost firing process. This technique ensured precision in replicating artistic compositions while allowing Delftware painters to imbue their works with their own stylistic interpretations.

SIMILAR EXAMPLES
A pair of similarly molded plaques with chinoiserie decorations is illustrated in Aronson 2023, pp. 60-61, no. 33. Another pair of the same model is illustrated in Aronson 2003, p. 25, no. 23. Additionally, a plate with a related ornamental design in the same color scheme was sold at RM Auctions on January 31, 2016, lot 357.

Delft, circa 1710

Marked LVE, numeral 5 and letters G and X in blue for Lambertus van Eenhoorn, the owner of De Metaale Pot (The Metal Pot) factory from 1691 until 1721, or his widow Margaretha Teckmann from 1721 to 1724

The spade-shaped body painted on the front and reverse with a rooster among a profusion of flowering branches and scattered blossoms, leaf sprigs and three-dot clusters, the sides with S-scroll handles decorated with continuous scrolls, the knopped and flaring rectangular foot with rose sprigs and demi-chrysanthemum blossoms and leaves above a border of 3-devices, and the top issuing five flaring spouts decorated with leafy vines.

DIMENSIONS
Height: 20.9 cm. (8.2 in.)

PROVENANCE
The Kitty Valkier-Schreurs Collection, Belgium;
Aronson Antiquairs, Amsterdam

LITERATURE
Described and illustrated in Aronson 2011, pp. 46-47, no. 27

SIMILAR EXAMPLES
A similar vase with “parsley” decoration, marked for De Dubbelde Schenkkan (The Double Jug) factory, is in the Lavino Collection, illustrated in Lavino, p. 105 (upper left); an example painted with Flora is illustrated ibid., p. 119 (right); and a pair of polychrome vases of similar shape but decorated with a chinoiserie landscape is also illustrated ibid., p. 125. A blue and white vase painted with a lady seated beside a tea table, and marked LVE for Lambertus van Eenhoorn, in the collection of the Kunstmuseum, The Hague (inv. no. 1002593), is illustrated in Van Aken-Fehmers 2007, p. 217, no. 7.12. Another blue and white example painted with a putto among stylized flowers and marked LVE, in the Rijksmuseum, Amsterdam (inv. no. BK-NM-2574), is illustrated in Hudig 1929, p. 208, ill. 200; and in Van Aken- Fehmers 2007, p. 218, no. 7.13.

Delft, circa 1710

Marked Roos / 7 in blue for De Roos (The Rose) factory

Painted on the front with a blossom and foliate medallion interrupting a ground of floral sprigs repeated on the twisted loop handle, the rim with a herringbone border, and the base with a narrower hatchwork border; now mounted with a pewter footrim.

DIMENSIONS
Height: 20.5 cm. (8.1 in.)

PROVENANCE
The Kitty Valkier-Schreurs Collection, Belgium;
Aronson Antiquairs, Amsterdam, 2015;
Dutch Private Collection, 1920

LITERATURE
Described and illustrated in Aronson 2015, no. 22, p. 41

NOTE
The tankard, characterized by its tall, cylindrical shape and a sturdy handle, was a practical choice for serving beer or ale—staple beverages in seventeenth and eighteenth-century European society. Its design was well-suited to the needs of communal drinking, providing a robust vessel that could hold a generous portion of liquid while being easy to grip and pass around. The popularity of tankards was undoubtedly influenced by the widespread beer-drinking culture across Europe, where such vessels were commonly used in taverns, inns, and homes.

However, when produced in Delftware, the tankard transcended its utilitarian origins and took on a more decorative role. The application of intricate blue and white designs, often inspired by Chinese porcelain, transformed these everyday objects into elegant display pieces. This artistic embellishment allowed Delftware tankards to serve not only as functional items for drinking but also as symbols of refinement and taste, suitable for display in more affluent households.

SIMILAR EXAMPLES
This style of all-over floral decoration is highly characteristic of De Roos. For reference, see three dishes with a similar background pattern illustrated in Van Aken-Fehmers 2001, pages 278 and 279, nos.84 and 85. A tankard of the same model and size, marked with an R in iron-red for De Roos factory, but featuring a rope-twist handle and decorated in
a ‘cashmere’ palette with birds and Asian flowers, housed in the Musée National de Céramique, Sèvres (inv. no. MNC 27116), is illustrated in Lahaussois 1998, pp. 44, 45, and 150, no. 125.

Delft, circa 1695

Numbered 2 3 in blue and attributed to Lambertus van Eenhoorn, the owner of De Metaale Pot (The Metal Pot) factory from 1691 until 1721, or his widow Margaretha Teckmann from 1721 to 1724

Modeled as a standing lady wearing a blue dress decorated with floral branches in white, cinched with a belt and adorned with a sash, holding with her right hand a basket on her head, her head slightly turned to the left, her gaze directed into the distance, and a small basket in her left hand, and standing on a pedestal featuring a bouquet of flowers framed by scrollwork ornaments on each side.

DIMENSIONS
Height: 43.5 cm. (17.1 in.)

PROVENANCE
Sandford Orcas Manor, Dorset, by family descent

NOTE
According to inventories from 1694-1702, the ‘Noordoostgalderij’ (Northeast Gallery) in Mary’s quarters at Honselaarsdijk contained “Nog vier vrouwtjes met bennetjes [mandjes] op het hooft” (Four more little women with baskets on their heads). Images of women carrying baskets filled with flowers and fruits are also found in French engravings from the seventeenth century. These figures, dressed in loosely draped garments with flower-filled baskets on their heads, reflect the styles of Jean Lepautre and Jean Bérain. The depiction of a girl standing in contrapposto, with a dress featuring cascading folds, likely draws inspiration from classical sculpture, a motif that reappeared during the Italian Renaissance in both painting and the glazed terracotta works of Marco Della Robbia (1468 – after 1532?) and Benedetto Buglioni (1459/60-1521).

These sculptures, known as Dovizia, are traditionally interpreted as symbols of abundance, though they could also be seen as wishes for prosperity for a welcoming household. While the Delft earthenware figure shares a similar pose to those found in Italian pottery, the context differs, placing greater emphasis on flowers. Instead of a cornucopia overflowing with fruit, the Delft figure holds a flower wreath in her right hand.

The motif of women carrying a flower vase or a tray on their heads with one hand is common in the works of Daniel Marot. His designs for gueridons, such as the triad for the antechamber at Het Loo Palace, have similar forms. Comparable designs are seen in the candlesticks by Adam Loofs (1645-1710), the goldsmith for William III, housed in the Rijksmuseum in Amsterdam (inv. nos. BK-1966-10 and BK-2005-20).

SIMILAR EXAMPLES
A similar figural flower basket marked LVE and numbered 2 3 as the present example is in the collection of National Museum Palace Het Loo, Apeldoorn (inv. no. RL 2592). Two of the same model, and also marked for LVE are in the collection of the Kunstmuseum, The Hague (inv. nos. 1059661). A fourth one but with a larger openwork flower basket, also marked LVE with numerals 2 3 is in the collection of Musées Royaux d’Art et d’Histoire, Brussels (inv. no. v. 600). A pair of similar figural flower holders, but marked for Adrianus Kocx, is in the collection of the Rijksmuseum, Amsterdam (inv.no. BK-1956-10a,b). There are slight differences in model with the flower holders marked for Lambertus van Eenhoorn, for example the figures have longer hair, their gaze is upward and instead of the flower wreath they are holding a branch in their left hand.

Delft, circa 1680
Painted in blue and yellow in the center with a vase filled with a lush bouquet of flowers on a table, centered by two large flitting insects, all within two blue concentric lines.

DIMENSIONS
Diameter: 38.8 cm. (15.3 in.)

NOTE
Although early Delftware is characterized by the use of a blue decoration on a white background, several factories started experimenting with colors in the second half of the seventeenth century. One of these factories was De Paauw (The Peacock) factory. Objects produced here from circa 1680 show the earliest stages of the development of colored Delftware. Such early polychrome objects are extremely rare. The characteristic color palette of De Paauw factory consists of the colors blue, green and yellow. These grand feu colors were often expanded with red. Red, however, was initially a difficult color for Delftware painters to fire; the metal oxides that gave the color to the glazes could not withstand the high temperatures of the kiln. In order to achieve a red decoration, De Paauw used the cold-painting technique. In this technique, a red lacquer paint was applied to the decoration after the blue, green and yellow paints had been fired.
The present charger shows the earliest stages of the development of colored Delftware: yellow was added to the originally blue color scheme. Such early polychrome objects are extremely rare.

SIMILAR EXAMPLES
A similar charger is in the Boijmans Van Beuningen Museum, Rotterdam (inv. no. A 4556). Two other chargers are in the Terra Verde Collection, and illustrated in Natuurlijke Pracht 2; Een selectie van vormen uit vuur uit de Terra Verde Collectie, 2021, pp. 78 – 81 (inv. nos. TVC 2322 and TVC 2324). Another one is illustrated in Aronson 2023, pp. 8-9, no. 3.

Delft, dated 1752

NOTE
The design on the present object appears on other plaques, suggesting the existence of a pouncing stencil that was used to reproduce the motifs. This technique involves transferring a design by dusting a fine charcoal powder known as ‘pounce’ through the perforation in the stencil, leaving a dotted outline on the surface beneath. The charcoal powder burns off during the glost firing.

Delft, circa 1690

Marked AK in blue for Adrianus Kocx, owner of De Grieksche A (The Greek A) factory from 1686 to 1701

The bowl of scalloped and barbed quatrefoil shape, affixed at the ends with blue openmouthed dragon or phoenix head handles, the lobes painted on the front and reverse with birds perched among peonies, foliate and rock work, the barbs with a blue ground decorated with flowerheads and scrollwork, the conformingly-shaped domed foot similarly decorated with foliate and scrollwork, above a dentil band around the foot rim; the low domed cover rim with a blue ground motif border of floral scrollwork interrupted by eight gu-form spouts decorated on the front with a stylized floral motif and on the reverse with four dots, the center with a trellis diaper work reserved with four blue-edged oval panels with a budding plant encircling a hexafoil bottle-shaped vase decorated with lappets with floral scrollwork, and issuing from each of the six lobes a slightly flaring cylindrical spout painted on the front with a budding plant, and again at the reverse with four dots, the knopped neck with six floral scroll devices.

DIMENSIONS
Height: 32.2 cm. (12.7 in.)

PROVENANCE
Collection of Prince and Princess Sadruddin Aga Khan, through 2020

Delft, circa 1690

Marked AK in blue for Adrianus Kocx, owner of De Grieksche A (The Greek A) factory from 1686 to 1701

This pair of blue and white rectangular flower-bricks feature an intricate flower pattern in the chinoiserie style on the sides, a characteristic often found on objects crafted at De Grieksche A (The Greek A) factory during that period, the upper border of all four sides is adorned with a band featuring triangular and dotted motifs, the top is pierced with three rows of nine holes, each encircled by a blue line with four dots positioned between every hole, the bottom exhibits traces of feet at each corner and in the middle of the long side.

DIMENSIONS
Height: 9.2 cm. (3.6 in.) Width: 16.6 cm. (6.5 in.)

PROVENANCE
Dutch Private collection

NOTE
This type of flower holder was developed at De Grieksche A (The Greek A) factory in the last decade of the seventeenth century, when the company was under directorship of Adrianus Kocx. This model became particularly popular in England in the second quarter of the eighteenth century. English Delft potters copied the model and produced it on a far larger scale than was ever produced in Delft.