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Lot 161 CHARGERS AND ITALIAN-INSPIRED WARES
Among the earliest pieces in this collection are those inspired by Italian maiolica, both the oviform jug with grotesques and scrolling foliage in the Italian maiolica style, and the extraordinary 'Sacrifice of Isaac' dish that appears to be loosely based on Italian istoriato painting of the early 16th Century. The boldly painted Adam and Eve chargers (lots 164 and 166) are typically English in their subject matter and interpretation. The successful adoption of chinoiserie design at Christian Wilhelm's factory at Southwark, Pickelherring Quay, illustrates the marriage of Dutch 'birds-on-rocks' painting ultimately derived from a Chinese original by way of Holland. Closest in style to the Dutch 'maiolica' is the polychrome dated dish in 1648, which although with strong Dutch influence this has a nuance of style that this peculiarly English. Of the long series of blue-dash chargers, some have Dutch prototypes, most notably the two tulip chargers and chargers with oak apples and pomegranates among the decoration.
Among the earliest pieces in this collection are those inspired by Italian maiolica, both the oviform jug with grotesques and scrolling foliage in the Italian maiolica style, and the extraordinary 'Sacrifice of Isaac' dish that appears to be loosely based on Italian istoriato painting of the early 16th Century. The boldly painted Adam and Eve chargers (lots 164 and 166) are typically English in their subject matter and interpretation. The successful adoption of chinoiserie design at Christian Wilhelm's factory at Southwark, Pickelherring Quay, illustrates the marriage of Dutch 'birds-on-rocks' painting ultimately derived from a Chinese original by way of Holland. Closest in style to the Dutch 'maiolica' is the polychrome dated dish in 1648, which although with strong Dutch influence this has a nuance of style that this peculiarly English. Of the long series of blue-dash chargers, some have Dutch prototypes, most notably the two tulip chargers and chargers with oak apples and pomegranates among the decoration.
A SOUTHWARK DELFT POLYCHROME CHARGER
CIRCA 1630, MONTAGUE CLOSE OR PICKLEHERRING QUAY
Closed18 June 2008
Price Realised
GBP 109,250
More Information
Specialist note
The central depiction of a warrior is based on an engraving by Virgil Solis of Hector of Troy from a series of the Nine Worthies (F. W. Hollstein, German Engravings, Etchings and Woodcuts, 1400 - 1700 Vol. LXIV, Virgil Solis, Part II, Rotterdam/The Netherlands, 2004, illustrated below).
The typical 'birds-on-rocks' design is recorded on a number of dated examples ranging from 1628 to 1635. Horne suggests that the central panel may be by the same hand as the dish in the Victoria and Albert Museum illustrated by Michael Archer, Delftware the Tin-glazed Earthenware of the British Isles, a Catalogue of the Collection of the Victoria and Albert Museum, London, 1997, pp. 99-100, no. A.50, pl. 31, where the more elaborate border has a combination of 'birds-on-rocks' panels and grotesques in the Italian manner. Lot 162 should also be considered in this context.
The typical 'birds-on-rocks' design is recorded on a number of dated examples ranging from 1628 to 1635. Horne suggests that the central panel may be by the same hand as the dish in the Victoria and Albert Museum illustrated by Michael Archer, Delftware the Tin-glazed Earthenware of the British Isles, a Catalogue of the Collection of the Victoria and Albert Museum, London, 1997, pp. 99-100, no. A.50, pl. 31, where the more elaborate border has a combination of 'birds-on-rocks' panels and grotesques in the Italian manner. Lot 162 should also be considered in this context.