An antique Dutch delft blue and white three-piece garniture consisting of a pair of gourd shaped vases and a single covered vase made circa 1700-1716. This grouping is truly beautiful. All three vases have the mark of Peter Gerritsz. Kam of De Drie Astonne (The Three Ash Barrels).
Our pair of vases, flanking the covered vase, have long hexagonal necks which widen near the top and end in a trumpet shape. The single covered vase has an octagonal base, neck and cover. Blue circles define and separate the sections of all three vases. The vases have traditional decoration known as “millefleurs” (a thousand flowers): a songbird sits on a branch among small unidentifiable flowers. The designs on the base of each vase consist of lambrequins, shell shapes, and scrolling vines. The proportions and painting are exquisite.
9.5″ diameter x 18″ height
An almost identical pair of vases can be found in the collection of the Philadelphia Museum of Art in the Bradbury Bedell Memorial Collection 1921-3-159, 160.
By the middle of the 15th century potters from southern Europe migrated through France to the Netherlands, and the earthenware industry became well established in Antwerp.
In the second half of the 16th century, under religious pressure, many of these protestant artisans were forced to leave Antwerp. Most moved to the northern Netherlands. The rise of the potting industry in the northern Netherlands occurred simultaneously with the decline of the beer brewing industry in the town of delft. As the delft brewers ceased production, their large abandoned buildings on the canals were quickly occupied by the pottery makers who could utilize the large spaces and the convenient water source for the transportation of their raw materials and finished wares.
In the middle of the 17th century a war in China interrupted the production of Chinese blue and white porcelains to Europe. The potters in delft were able to fill the void in the market and they began producing earthenware’s in the style of Chinese porcelain, which they successfully marketed as “porcelain.” Within the next century and a half, the delft pottery-makers became increasingly successful and their range of styles broadened to include European subjects and other original styles. At the height of production the city of delft counted almost 40 factories. So successful were the delft factories that many factories across Europe and especially in England across the channel began to produce delftware.
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