Dammas was the son of Barthout Damasz van Slingeland and Emerentia Repelaer, linking two influential Dordrecht lineages. Following family tradition, he entered civic service and held the office of schepen (alderman) by 1718, later advancing to burgomaster. Tax records attest to his ownership of both a country residence and substantial urban property, underscoring his social standing and financial means.

This ewer, produced between 1688 and 1715 at the Delft factory De Dubbelde Schenkkan, was likely commissioned to mark a significant personal or public milestone in Dammas’ early adulthood. Armorial Delftware of this type, uniting heraldic imagery with sophisticated ceramic workmanship, was often created to commemorate appointments to civic office, marriages within regent families, or the succession to estates. Such pieces functioned both as ceremonial objects and as expressions of family identity and prestige.

Today, armorial Delftware such as this ewer provides valuable insight into the interplay of political ambition, patrician self-representation, and artistic patronage in the Dutch Republic during the late seventeenth and early eighteenth centuries.

Once the practice became fashionable, it changed the rhythm of people’s daily lives. Tea could be drunk once or twice a day, but afternoon gatherings became the new habit. Furthermore, it inspired people to acquire the necessary accoutrements for serving the drink. In the seventeenth century, these necessities could be of a variety of materials, and even a combination of Chinese and European tea wares. However, by the end of the eighteenth century, it was customary to have complete matching sets. Tea was presented to guests in beautiful tea canisters, and then strongly brewed in small pots. These concentrated brews were then diluted with hot water from a bouilloire, a silver, copper (although this material was thought not so suitable for boiling water) or pewter kettle on a stand over a brazier. When the guest wanted to try a different kind of tea, he or she could rinse the cup in the slop bowl. The new drink should be sipped as hot as possible, but if too hot, it could be poured on the saucer to cool a little and sipped from there. With
tea being very expensive, the cups were small, so it was not uncommon if one would have up to twenty or even fifty cups during a tea party.

Dutch Delftware teapots are rare, since vessels made from regular earthenware were comparably coarser than porcelain, and considered less elegant and pleasant to drink from. More important is the fact that earthenware is not the best material to hold boiling water. Heat is conducted more readily by earthenware, being a porous material, than by
porcelain, and it was prone to crack when it had to endure large temperature differences. If the glaze crackled, the material underneath became unsealed, and the water caused it to crumble.

SIMILAR EXAMPLES
A smaller, but comparable modeled and decorated teapot is in the Kunstmuseum, The Hague (inv. no. 1059828).

Marked LC in blue for Lambertus Cleffius, the owner of De Metaale Pot (The Metal Pot) factory from 1679 to 1691, and with a molded numeral VIII

Dimensions

Height: 23.3 cm. (9.2 in.)

Provenance

Collection B. Vervoort, Heerlen,
The Netherlands

Each marked in blue with an axe for De Porceleyne Byl (The Porcelain Axe) factory

Both painted in the center with a scaly herring within a border of leaves and scrolls on the scalloped and barbed edge of the chamfered rectangular rim.

DIMENSIONS
Lengths: both 23.3 cm. (9.2 in.)

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

LITERATURE
Described and illustrated in Aronson 2019, pp. 144-145, no. 73

NOTE
DHerring dishes are a longstanding part of the Dutch tradition of herring consumption, where herring is typically served with chopped raw onions and pickles. The Dutch have been eating herring for over a millennium, initially fishing for personal use. However, around the year 1000, commercial herring fishing emerged, spurred by the abundance of herring shoals in the North Sea. Coastal fishing villages quickly developed, taking advantage of this accessible resource. One of the key innovations in the Dutch herring industry was the preservation method called
“gibbing” (Dutch: haringkaken), invented in the late fourtheenth century by Dutch fisherman Willem Beukelszoon. This process involved removing the gills and some internal organs, while leaving the pancreas intact to aid in curing the fish. This method significantly extended the shelf life of the herring, enabling large-scale fishing and export throughout Europe. From the sixteenth to the eighteenth century, herring fishing became a major economic driver for the Netherlands. In the early seventeenth century, the Dutch herring fleets comprised an estimated 770 ships, far outnumbering the 150 to 200 ships involved in whaling during the same period.

Despite being called raw herring, the dish is not actually raw. The herring is first frozen and then salted for several days to allow it to ripen (producing soused herring). This process made herring not only nutritious but also affordable, with a long shelf life when stored in salted barrels, making it a valuable winter food source.

Delftware herring dishes were common in Dutch kitchens. In addition to a series of plates depicting the journey from herring catch to consumer, various types of herring dishes were produced. These dishes were often shaped like fish or designed in oval or rectangular forms, decorated with images of herring.

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.