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FIVE AUCTION / NORD ENCHERES

Estimate €8,000 - €10,000
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Description
DELFT Large earthenware tulip vase or pyramid, obelisk-shaped, in two parts, resting on a square base decorated in shades of blue with perforated rocks, flowering shrubs, vases of flowers, an incense burner and birds in the style of Chinese porcelain, the base supported by four feet; the corners of the pyramid adorned with twenty spouts emerging from the open mouth of a mythical creature, decorated in shades of blue with foliage scrolls, braids and valances. Late 17th century, circa 1690–1700. Unmarked. Height 59 cm, width 11.5 cm. Restoration to the top and the tips of four spouts. Condition report: From bottom to top: the pyramid is glued onto a square wooden base. Minor wear to the enamel on the corners and feet, Small chips at the tips of 11 spouts; 4 spouts have been restored. The top of the obelisk has been restored with an 8 cm earthenware replacement. The late 17th century saw Delft potters develop and refine large vases for displaying cut flowers, intended for the court of William III of Orange-Nassau and his wife Mary II, and their aristocratic entourage, both in Holland and in Great Britain. This type of vase was known as a ‘pyramid’ or ‘obelisk’. An inventory drawn up in 1691 at the De Metaale Pot factory in Delft mentions the presence of pyramids for flowers. In the 19th century, these vases were mistakenly referred to as ‘tulip vases’. They were not intended to display a single variety of flower but, on the contrary, a profusion of flowers of different species. Contemporary depictions of these pyramids are exceedingly rare. A pyramid is depicted on a pair of Delft earthenware vases from the ‘Tête de Maure’ workshop under the direction of Jacob Wemmersz Hoppoesteyn (1659–1682), now held at the Musée de la Chartreuse in Douai. Delft faience pyramids are also depicted on the tapestry upholstery of two chairs dating from around 1700, held in the collections at Doddington Hall in Lincolnshire. They are shown filled with a large number of colourful flowers of various species, complete with their foliage. Queen Mary II’s combined interests in Chinese porcelain and flowers would naturally have led her to appreciate these Delft pyramids. An inventory at Het Loo Palace prior to 1689 records the presence of small pyramids for flowers. Another inventory at her residence at Honselaarsdijk near The Hague mentions two large Delft porcelain pyramids for flowers and four small ones. Three pairs of Delft earthenware vases with spouts for flowers, which are still preserved today in the British Royal Collections at Hampton Court Palace in England, formed part of the collections of William III and Mary II. They are decorated with the royal couple’s cipher, coats of arms and heraldic emblems as King and Queen of England, Scotland and Ireland, and with portraits of King William III. These six vases were produced by the ‘A Grec’ (De Grieksche A) workshop under the direction of Adrian Kocks (1687–1701). Among these three pairs, one consists of a pair of hexagonal pyramids whose spouts for holding flowers are shaped like chimera heads, comparable to those found on our pyramids. This vase form combines three distinct sources of inspiration. Firstly, the multi-spouted vase, whose origins appear to date back to Persian ceramics as early as the 12th century; this design is echoed in Medici porcelain in Florence in the late 16th century, and later in Nevers in France and in England during the 1650s and 1660s. On the other hand, the obelisk, directly inspired by the ancient form, is a symbol of power. During the reign of William III, it was widely used to symbolise royal authority. For example, the central axis of the gardens at Het Loo Palace led to a wooden obelisk, and the triumphal arch erected in 1692 in The Hague to mark William III’s visit was flanked byobelisks topped with busts of King William and Queen Mary. Finally, the third source of inspiration for these pyramids is the famous Porcelain Pagoda in Nanjing. The spread of this exotic structure, through an engraving published in Amsterdam in 1665 as part of Johann Nieuhof’s travel account (An Embassy from the Netherlands East India Company to the Great Tartar Cham, the current Emperor of China), captivated Europe and, in particular, the potters of Delft. The similarities between the Nanjing Pagoda and the Delft earthenware pyramids are too numerous to be mere coincidence: the spouts on the pyramids mimic the projections at the corners of the pagoda; the tower had nine storeys, like most of the large Delft earthenware pyramids; finally, the Nanjing Pagoda was made entirely of porcelain, as these earthenware pieces attempt to imitate. Several Delft earthenware pyramids, mainly from the ‘A Grec’ and ‘Pot de Métal’ workshops, are now held in public and private collections. The largest known example, measuring 178 cm, is on display at the Louvre. Expert: Cyrille FROISSART Bibliography: M. Archer, ‘Pyramids and Pagodas for flowers’, Country Life, January 1976 J. Wilson, ‘A phenomenon of Taste, The China Mode of Queen Mary’, Apollo, August 1972, pp. 116–123. M. S. van Aken-Fehmers (ed.), *Vases with Spouts: Three Centuries of Splendour*, The Hague, 2007. J. D. van Dam, *Delftse Porceleyn, 1620–1850*, Amsterdam, 2004. A. Erkelens, *Delfts Porceleijn van koningin Mary II: Ceramics at Het Loo from the time of Willem III and Mary II*, 1996. F. Scholten, *Delft Tulip Vases*, Amsterdam, 2013. Aronson, *Lavish Tulip Vases*, pyramidal flower vases, 2007.
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About the sale SALE OF WORKS OF ART AND COLLECTORS’ ITEMS – ESTATE SALES
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Auction time 09/16/2026 at 1:00 PM
Pictures modified on 09/07/2026 at 5:37 PM
Lot description modified on 09/07/2026 at 5:37 PM
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