Pair of polychrome and gilded Imari-style large tankards with silver covers (Q34016): verschil tussen versies
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(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...) |
(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...) |
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| 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 | |||
Versie van 24 jan 2024 13:13
geen beschrijving ingesteld
| Taal | Label | Beschrijving | Ook bekend als |
|---|---|---|---|
| Nederlands | Pair of polychrome and gilded Imari-style large tankards with silver covers |
geen beschrijving ingesteld |
Verklaringen
Delft (Nederlands)
Delft (Engels)
1 bron
28 sep 2023
onbekende waarde
circa 1710 (Engels)
circa 1710 (Nederlands)
1 bron
28 sep 2023
tin-glazed earthenware (Engels)
tingeglazuurd aardewerk (Nederlands)
1 bron
28 sep 2023
onbekende waarde
A. Berendsen, Het Nederlandse Interieur van 1450-1820, Utrecht 1950, p. 198, ill. 192 (Engels)
A. Berendsen, Het Nederlandse Interieur van 1450-1820, Utrecht 1950, p. 198, ill. 192 (Nederlands)
1 bron
28 sep 2023
Aronson Delftware D1122
0 bronnen
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)
0 bronnen
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)
0 bronnen