Each marked LVE 0 2 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

Each modeled as a seated Budai Heshang, wearing a robe loosely draped to reveal his corpulent belly and patterned with florets, sprigs and leafy stems, from his head emerges the spout painted with floral sprigs and an openwork rim.

DIMENSIONS
Heights: 10.1 cm. (4 in.)

PROVENANCE
The Peter Van Slyke Collection, U.S.A.;
Sotheby’s, Amsterdam, 3 December 2002, lot 1

NOTE
A The Budai Heshang, often referred to as the “Laughing Buddha,” is a prominent figure in Chinese culture and religion, particularly within Chinese Buddhism. Historically, Budai was a semi-legendary monk who lived during the late Tang (618–907) or early Song (960–1279) dynasty. His name, meaning “cloth sack,” derives from the bag he carried, which symbolized his generosity as he distributed food and gifts to the poor. Budai is considered a manifestation of Maitreya, the future Buddha, and his image
represents themes of contentment, abundance, and happiness.

Budai is traditionally depicted as a cheerful, corpulent figure with a large exposed belly, symbolizing wealth, prosperity, and good fortune. His jovial demeanor and informal posture contrast with the solemn representations of traditional Buddhas, emphasizing accessibility and joy. Over time, his image transcended its religious context, becoming a
universal symbol of happiness and prosperity in both East Asian and global cultures.

In the seventeenth and eighteenth centuries, with the rise of European trade with China through the Dutch East India Company (VOC), Budai figurines became highly sought-after in Europe as part of the fascination with exotic goods and Chinese culture. Delft potters, inspired by Chinese porcelain, adopted the Budai Heshang figure into their
repertoire, producing seated Budai figures with their characteristic smiling expressions and ample bellies. In Delftware, these figures were often adapted stylistically to suit European tastes, combining traditional Chinese iconography with the decorative artistry of Dutch ceramics.

The Budai Heshang in Delftware highlights the blending of cultural motifs and the adaptation of Asian artistic themes into European decorative arts, underscoring the global interconnectedness of the seventeenth and eighteenth centuries. These Delft interpretations of Budai often emphasize his cheerful demeanor and iconic belly while incorporating Delft’s signature blue-and-white or polychrome decoration, showcasing the unique fusion of Asian inspiration and Dutch craftsmanship.

This photograph was commissioned by Aronson Antiquairs, Amsterdam with Delftware objects from the collection.

The photographs shows a typical Dutch landscape plaque painted by Frederik van Frijtom (circa 1632 – 1702). Van Frijtom trained to be an easel painter, but he primarily painted earthenware, translating his drawings of the Dutch countryside onto faience. Interestingly, Van Frijtom was one of the rare independent pottery painters in Delft. He received the guild’s permission to work on his own, rather than being employed by one of the potteries. This permission was only granted to artisans who were disabled, who could only work in the privacy of their own studio, or who possessed technical secrets.

This photograph was commissioned by Aronson Antiquairs, Amsterdam with Delftware objects from the collection.

The photographs shows a typical Dutch landscape plaque painted by Frederik van Frijtom (circa 1632 – 1702). Van Frijtom trained to be an easel painter, but he primarily painted earthenware, translating his drawings of the Dutch countryside onto faience. Interestingly, Van Frijtom was one of the rare independent pottery painters in Delft. He received the guild’s permission to work on his own, rather than being employed by one of the potteries. This permission was only granted to artisans who were disabled, who could only work in the privacy of their own studio, or who possessed technical secrets.

This photograph was commissioned by Aronson Antiquairs, Amsterdam with Delftware objects from the collection.

The still life shows a composition of a pair of late seventeenth-century blue and white pyramidal flower vases.

This photograph was commissioned by Aronson Antiquairs, Amsterdam with Delftware objects from the collection.

The still life shows a composition of a pair of late seventeenth-century blue and white pyramidal flower vases.

This photograph was commissioned by Aronson Antiquairs, Amsterdam with Delftware objects from the collection.

The vanitas still life shows a composition of a pair of  seventeenth-century pilgrims bottles, a late seventeenth-century wine cooler, a pair of early eighteenth-century salt cellars, an early eighteenth-century monteith, a pair of early eighteenth-century candlesticks and a seventeenth-century pierced bowl.

This photograph was commissioned by Aronson Antiquairs, Amsterdam with Delftware objects from the collection.

The vanitas still life shows a composition of a pair of  seventeenth-century pilgrims bottles, a late seventeenth-century wine cooler, a pair of early eighteenth-century salt cellars, an early eighteenth-century monteith, a pair of early eighteenth-century candlesticks and a seventeenth-century pierced bowl.

This photograph was commissioned by Aronson Antiquairs, Amsterdam with Delftware objects from the collection.

The still life shows a composition of a set of Delftware figural cistern, a pair of candlesticks, a flower vase and a puzzle jug. 

This photograph was commissioned by Aronson Antiquairs, Amsterdam with Delftware objects from the collection.

The still life shows a composition of a set of Delftware figural cistern, a pair of candlesticks, a flower vase and a puzzle jug. 

This photograph was commissioned by Aronson Antiquairs, Amsterdam with Delftware objects from the collection.

The still life shows a composition of a set of Delftware dragon pattern egg cups, a flower vase, a pair of tureens and honey pots.