Large Dutch Delft chinoiserie plate from ‘De Paauw’

This earthenware plate has a beautiful dense and deep blue color, finished with black. In the middle we can see two Long Eliza’s in a fenced garden. On the left side of the fence there is an incense burner and cache-pot displayed.

Long Eliza is an old common name for the decoration on Chinese export porcelain featuring elegant, slim and long women. The Dutch are credited with giving this Chinese export pattern its name ‘Lange Lijzen’ (or loosely translated Tall Eliza), which is typical for the Kangxi period (1661-1722). This of course did not go unnoticed by the Delft potters. The broad border of the plate is not decorated with a pattern but with similar scenes with lots of space and white in between. This is a typical element derived from the Transition period (1620-1683).

The high-quality decoration of this plate is very recognizable for factory ‘De Paauw’ (The Peacock). The workshop was active from 1651-1774 on the addresses Koornmarkt and Oude Delft, in Delft. Before, in these buildings there was a beer brewery by Jacob Adriaensz Paauw (1558-1620), who also had been major of the Delft City. It was common to use the former name of the older factory (that were in most cases beer breweries) that were located in the pledge before the potters settled in there. A 'fire inspection' from 1668 mentions the presence of one kiln to fire the pottery, but around 1730 two kilns were producing. In 1775 the Paauw went bankrupt. In the 18th century, ways of making Chinese quality porcelain were developed through Europe. By the end of the 18th century the popularity of Delft pottery is rapidly declining and one company after another must close.

Condition: Very good, some light retouches to the edge.

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Delft answers: the start of copying China

by Toussaint (T.M.) Verkoulen

In the 17th century the admiration for the eastern world spread through whole Europe and became accessible for more social classes because more and more European countries settled trading posts in the east.

It is well known that the city of Delft produced a lot of blue-and-white Chinese inspired wares. One of the main reasons for this lays back in 1644. In 1644 the transition from the Ming (1368-1644) to Qing dynasty (1644-1912) imperial family took place (known as the Battle of Beijing), resulting into a turbulent period in China. After the conquest of Beijing, pretenders of the Ming branch continued to claim rule over China, maintaining small but persistent strongholds in its southern regions.

The political shift caused fewer numbers of exports, especially during the 3 years after 1644 but also during the following decades. This gave European pottery makers the opportunity to fill the demand remained under the European households. At the same time, we can see a replacement by Japanese porcelain.

This ‘Transition period’ in China can thus be marked as the start of large production of Chinese style Dutch delftware. At the worst point of the Chinese civil war in 1653, the export of Chinese porcelain came to a temporary end.

Although the Dutch did not have a direct mainland trading post in Canton yet, they were impacted by the events. Besides the alternative of Japanese porcelain, the Dutch business- and tradesmen managed to establish 17 Delft factories between 1653 and 1662 (out of the 34 known that are established in Delft). From this point in history we can see not only the Chinese style and taste in Delft objects but also exact copied patterns of Chinese porcelain, but this time in earthenware.

With no access to kaolin, the Delft potteries were unable to manufacture true porcelain. The blue and white color scheme was imitated by coating the pieces of earthenware with a white tin glaze, to which they applied distinctive blue paintwork. The result was that blue wares from Delft were soon recognized as high quality. Even more important: Delftware was only at a tenth of the price of comparable Chinese porcelain and thus much more affordable. It takes till 1708 when von Tschirnhaus and Böttger have experimented enough to be able to copy the difficult hard-paste porcelain in Europe.

In 1662, at the begin of the reign of the Qing Emperor Kangxi, a new event in the long lasting Chinese civil war (caused by the transition of 1644) led by Ming loyalists Zheng Chenggong took place. In that year Zheng managed to capture the important Dutch trading post on the island of Formosa, which led to the end of the once so lucrative trade of the Dutch East India Company on the small island (now Taiwan). Formosa got eventually captured in 1683 by Emperor Kangxi. From that date on, the Chinese porcelain production and export has experienced unprecedented growth and had the space to develop into the highest quality.

Although the Chinese emperor Kangxi (1662-1722) was producing the best-quality Chinese porcelain The Netherlands experienced a revival of interest in the ‘kraak’-style at the second half to the end of the 17th century. Until the early 1700’s we see kraak-style Delft objects of which the plates are more common but vases and other wares rather rare.

The kraak-style porcelain is a collective name of porcelain produces between 1573-1661 under 4 Chinese emperors. The porcelain under the last Ming emperor Shunzi (1644-1661) is called Transition porcelain but is also categorized as kraak-style porcelain.

As well we see the Chinese Kangxi-style and its copies back in the Delft production from 1680 and so on. Often there can be seen a difference between copying the kraak-style and Kangxi-style in Delft. Where the kraak-style wares are often copied in full style or one-on-one, the Kangxi style wares are more often with only some Kangxi elements or combined with other eastern patterns and European taste. A reasonable explanation for this difference could be that the Kangxi porcelain was normally available without shortages or restrictions after 1683.

Source:

Achterdegevelsvandelft.nl

Y. Givon, “A tale of dynastic change in China: The Ming-Qing transition through Athanasius Kircher SJ’s China illustrate (1667)”, 2019.

T. Giehler, “The ceramics of Eurasia: How export porcelain has shaped a globalized world”, 2019.

Titus M. Eliëns, “Delftware wonderware”, 2013.