Item:Q34016 - Bewerkingsoverzicht

Vincent de Keijzer: /* wbsetclaim-create:2||1 */ Property:P113: The production of Imari-style decorated earthenwares in Delft began at the turn of the seventeenth to eighteenth century, reaching its zenith in the 1720s and 1730s. The present pair of tankards is a fine example of the combination of a typical European shape with the fashionable exotic designs.Similar example:A silver-gilt-mounted tankard of similar form and decoration, including the bird perched on a branch with two chrysanthemum flowers, in t...

2024-01-24T13:14:24Z

‎Verklaring aangemaakt: beschrijving (P113): The production of Imari-style decorated earthenwares in Delft began at the turn of the seventeenth to eighteenth century, reaching its zenith in the 1720s and 1730s. The present pair of tankards is a fine example of the combination of a typical European shape with the fashionable exotic designs.Similar example:A silver-gilt-mounted tankard of similar form and decoration, including the bird perched on a branch with two chrysanthemum flowers, in t...

← Oudere versie	Versie van 24 jan 2024 13:14
	eigenschap / beschrijving
		The production of Imari-style decorated earthenwares in Delft began at the turn of the seventeenth to eighteenth century, reaching its zenith in the 1720s and 1730s. The present pair of tankards is a fine example of the combination of a typical European shape with the fashionable exotic designs.Similar example:A silver-gilt-mounted tankard of similar form and decoration, including the bird perched on a branch with two chrysanthemum flowers, in the Museum für angewandte Kunst, Vienna, is illustrated in Lunsingh Scheurleer 1984, p. 230, ill. 131. (Engels)
	eigenschap / beschrijving: The production of Imari-style decorated earthenwares in Delft began at the turn of the seventeenth to eighteenth century, reaching its zenith in the 1720s and 1730s. The present pair of tankards is a fine example of the combination of a typical European shape with the fashionable exotic designs.Similar example:A silver-gilt-mounted tankard of similar form and decoration, including the bird perched on a branch with two chrysanthemum flowers, in the Museum für angewandte Kunst, Vienna, is illustrated in Lunsingh Scheurleer 1984, p. 230, ill. 131. (Engels) / rang
		Normale rang

Vincent de Keijzer: /* wbsetclaim-create:2||1 */ Property:P113: Typical for Imari porcelain, named after its place of distribution near the Arita factories, were its asymmetrical compositions painted in underglaze blue, iron-red and gold. These new wares were an immediate success in the Netherlands where consumers were familiar with only the blue and white porcelains. Although initially quite expensive, Imari porcelain began to be imported in sufficient quantities that it soon dominated the market and create...

2024-01-24T13:13:58Z

‎Verklaring aangemaakt: beschrijving (P113): Typical for Imari porcelain, named after its place of distribution near the Arita factories, were its asymmetrical compositions painted in underglaze blue, iron-red and gold. These new wares were an immediate success in the Netherlands where consumers were familiar with only the blue and white porcelains. Although initially quite expensive, Imari porcelain began to be imported in sufficient quantities that it soon dominated the market and create...

← Oudere versie	Versie van 24 jan 2024 13:13
	eigenschap / beschrijving
		Typical for Imari porcelain, named after its place of distribution near the Arita factories, were its asymmetrical compositions painted in underglaze blue, iron-red and gold. These new wares were an immediate success in the Netherlands where consumers were familiar with only the blue and white porcelains. Although initially quite expensive, Imari porcelain began to be imported in sufficient quantities that it soon dominated the market and created a fashion. In order to participate in the emerging market for the newly sought-after designs, the Delft potters began to produce imitations that were offered for lower prices. On a smaller scale, making them now a great rarity, the Chinese also copied some Japanese Imari designs (primarily the colors and several selected motifs) for their export market before adopting the palette for a large production of ‘Imari’ wares in their own style of decoration, especially popular from about 1725 to 1740 (see Jörg, Van Campen 1997, p. 200; several pieces of Chinese porcelain in this rare Japanese style are in the Palace Museum, Beijing, illustrated in Qing Porcelain from the Palace Museum Collection, Beijing 1989, pp. 129-131, nos. 112-114). (Engels)
	eigenschap / beschrijving: Typical for Imari porcelain, named after its place of distribution near the Arita factories, were its asymmetrical compositions painted in underglaze blue, iron-red and gold. These new wares were an immediate success in the Netherlands where consumers were familiar with only the blue and white porcelains. Although initially quite expensive, Imari porcelain began to be imported in sufficient quantities that it soon dominated the market and created a fashion. In order to participate in the emerging market for the newly sought-after designs, the Delft potters began to produce imitations that were offered for lower prices. On a smaller scale, making them now a great rarity, the Chinese also copied some Japanese Imari designs (primarily the colors and several selected motifs) for their export market before adopting the palette for a large production of ‘Imari’ wares in their own style of decoration, especially popular from about 1725 to 1740 (see Jörg, Van Campen 1997, p. 200; several pieces of Chinese porcelain in this rare Japanese style are in the Palace Museum, Beijing, illustrated in Qing Porcelain from the Palace Museum Collection, Beijing 1989, pp. 129-131, nos. 112-114). (Engels) / rang
		Normale rang

Vincent de Keijzer: /* wbsetclaim-create:2||1 */ Property:P113: In the last quarter of the seventeenth century the Japanese porcelain factories at Arita (Kyushu) developed their own styles for decorating the wares to be exported to the Netherlands. The sought-after blue and white wares no longer imitated precisely the Chinese ‘Kraak’ and Transitional models of the earlier decades of the century, but made way for more typical Japanese motifs, such as continuous landscapes and boldly painted designs of large f...

2024-01-24T13:13:36Z

‎Verklaring aangemaakt: beschrijving (P113): In the last quarter of the seventeenth century the Japanese porcelain factories at Arita (Kyushu) developed their own styles for decorating the wares to be exported to the Netherlands. The sought-after blue and white wares no longer imitated precisely the Chinese ‘Kraak’ and Transitional models of the earlier decades of the century, but made way for more typical Japanese motifs, such as continuous landscapes and boldly painted designs of large f...

← Oudere versie	Versie van 24 jan 2024 13:13
	eigenschap / beschrijving
		In the last quarter of the seventeenth century the Japanese porcelain factories at Arita (Kyushu) developed their own styles for decorating the wares to be exported to the Netherlands. The sought-after blue and white wares no longer imitated precisely the Chinese ‘Kraak’ and Transitional models of the earlier decades of the century, but made way for more typical Japanese motifs, such as continuous landscapes and boldly painted designs of large flowers, phoenixes or other mythological creatures (see Jörg, Van Campen 1997, p. 199). Moreover, polychrome wares in new styles and palettes began to appear on the market: Kakiemon and Imari. (Engels)
	eigenschap / beschrijving: In the last quarter of the seventeenth century the Japanese porcelain factories at Arita (Kyushu) developed their own styles for decorating the wares to be exported to the Netherlands. The sought-after blue and white wares no longer imitated precisely the Chinese ‘Kraak’ and Transitional models of the earlier decades of the century, but made way for more typical Japanese motifs, such as continuous landscapes and boldly painted designs of large flowers, phoenixes or other mythological creatures (see Jörg, Van Campen 1997, p. 199). Moreover, polychrome wares in new styles and palettes began to appear on the market: Kakiemon and Imari. (Engels) / rang
		Normale rang

Vincent de Keijzer: /* wbsetclaim-create:2||1 */ Property:P113: Each of tapering cylindrical shape and painted in iron-red, blue and gold with a bird in flight near another perched on a branch of chrysanthemums amidst pierced rocks, flowering plants and grasses beneath a wide border of three blue-edged iron-red ground floral lappets alternating with gilt trellis-patterned blue-ground lappets centering a mons device, and the ribbed loop handle with a border of iron-red and gilt husks between foliate scrolls o...

2024-01-24T13:13:14Z

‎Verklaring aangemaakt: beschrijving (P113): Each of tapering cylindrical shape and painted in iron-red, blue and gold with a bird in flight near another perched on a branch of chrysanthemums amidst pierced rocks, flowering plants and grasses beneath a wide border of three blue-edged iron-red ground floral lappets alternating with gilt trellis-patterned blue-ground lappets centering a mons device, and the ribbed loop handle with a border of iron-red and gilt husks between foliate scrolls o...

← Oudere versie	Versie van 24 jan 2024 13:13
	eigenschap / beschrijving
		Each of tapering cylindrical shape and painted in iron-red, blue and gold with a bird in flight near another perched on a branch of chrysanthemums amidst pierced rocks, flowering plants and grasses beneath a wide border of three blue-edged iron-red ground floral lappets alternating with gilt trellis-patterned blue-ground lappets centering a mons device, and the ribbed loop handle with a border of iron-red and gilt husks between foliate scrolls on the sides; the silver covers engraved with coats of arms, one with the arms of the city of Leeuwarden, each within a central medallion encircled by a border of repoussé acanthus leaves repeated on the handle mount below the fan-shaped reeded thumbpiece, the interior and the handle mount showing traces of gilding. (Engels)
	eigenschap / beschrijving: Each of tapering cylindrical shape and painted in iron-red, blue and gold with a bird in flight near another perched on a branch of chrysanthemums amidst pierced rocks, flowering plants and grasses beneath a wide border of three blue-edged iron-red ground floral lappets alternating with gilt trellis-patterned blue-ground lappets centering a mons device, and the ribbed loop handle with a border of iron-red and gilt husks between foliate scrolls on the sides; the silver covers engraved with coats of arms, one with the arms of the city of Leeuwarden, each within a central medallion encircled by a border of repoussé acanthus leaves repeated on the handle mount below the fan-shaped reeded thumbpiece, the interior and the handle mount showing traces of gilding. (Engels) / rang
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Hannolans: /* wbeditentity-update:0| */ Aronson

2023-10-18T12:16:57Z

‎Een item bijgewerkt: Aronson

← Oudere versie

Versie van 18 okt 2023 12:16

eigenschap / PID-nummer

Aronson Delftware D1122

eigenschap / PID-nummer: Aronson Delftware D1122 / rang

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eigenschap / digitale representatie

https://www.aronson.com/wp-content/uploads/2018/09/1122.jpg

eigenschap / digitale representatie: https://www.aronson.com/wp-content/uploads/2018/09/1122.jpg / rang

Normale rang

eigenschap / digitale representatie: https://www.aronson.com/wp-content/uploads/2018/09/1122.jpg / bron

vermeld in: Oude website Delfts Aardewerk
geraadpleegd op: 28 sep 2023Tijdstip+2023-09-28T00:00:00Z
Tijdzone+00:00
KalenderGregoriaanse
Precisie1 dag
Voor0
Na0

Hannolans: /* wbremoveclaims-remove:1| */ Property:P43: https://api.kunstmuseum.nl/w/images/1/14/Verloop.jpeg, #quickstatements; #temporary_batch_1697629755238

2023-10-18T11:49:36Z

‎Verklaring verwijderd: digitale representatie (P43): https://api.kunstmuseum.nl/w/images/1/14/Verloop.jpeg, #quickstatements; #temporary_batch_1697629755238

← Oudere versie		Versie van 18 okt 2023 11:49
eigenschap / digitale representatie
	~~https://api.kunstmuseum.nl/w/images/1/14/Verloop.jpeg~~
eigenschap / digitale representatie: https://api.kunstmuseum.nl/w/images/1/14/Verloop.jpeg / rang
	~~Normale rang~~

Hannolans: /* wbeditentity-update:0| */ literatuur

2023-10-02T12:14:50Z

‎Een item bijgewerkt: literatuur

← Oudere versie

Versie van 2 okt 2023 12:14

eigenschap / vermeld in

onbekende waarde

eigenschap / vermeld in: onbekende waarde / rang

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eigenschap / vermeld in: onbekende waarde / kwalificatie

presentatietekst: A. Berendsen, Het Nederlandse Interieur van 1450-1820, Utrecht 1950, p. 198, ill. 192 (Engels)

eigenschap / vermeld in: onbekende waarde / kwalificatie

presentatietekst: A. Berendsen, Het Nederlandse Interieur van 1450-1820, Utrecht 1950, p. 198, ill. 192 (Nederlands)

eigenschap / vermeld in: onbekende waarde / bron

vermeld in: Oude website Delfts Aardewerk
geraadpleegd op: 28 sep 2023Tijdstip+2023-09-28T00:00:00Z
Tijdzone+00:00
KalenderGregoriaanse
Precisie1 dag
Voor0
Na0

Hannolans: /* wbeditentity-update:0| */ en en nl

2023-10-02T11:44:04Z

‎Een item bijgewerkt: en en nl

← Oudere versie	Versie van 2 okt 2023 11:44
	eigenschap / plaats vervaardiging: Delft / kwalificatie
		presentatietekst: Delft (Engels)
	eigenschap / datering: onbekende waarde / kwalificatie
		presentatietekst: circa 1710 (Nederlands)

Hannolans: /* wbeditentity-update:0| */ project Delfts

2023-09-28T15:04:05Z

‎Een item bijgewerkt: project Delfts

← Oudere versie	Versie van 28 sep 2023 15:04
	eigenschap / project
		project Delfts Aardewerk
	eigenschap / project: project Delfts Aardewerk / rang
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Hannolans: /* wbeditentity-update:0| */ afbeelding

2023-09-28T13:16:09Z

‎Een item bijgewerkt: afbeelding

← Oudere versie	Versie van 28 sep 2023 13:16
	eigenschap / digitale representatie
		https://api.kunstmuseum.nl/w/images/1/14/Verloop.jpeg
	eigenschap / digitale representatie: https://api.kunstmuseum.nl/w/images/1/14/Verloop.jpeg / rang
		Normale rang