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Aronson Antiquairs of Amsterdam

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Nederland
Amsterdam
Aronson Antiquairs of Amsterdam

Specialists in 17th & 18th century Dutch Delftware Aronson Antiquairs is now in its fifth generation.

Robert Aronson runs this gallery on the Nieuwe Spiegelstraat which was founded in 1881. In the gallery you will find some of the earliest objects made by the Delft factories in the 17th century, and a superb collection of polychrome animals, figures, plaques and chargers from the 18th century.

27/08/2026

Richly painted in a vibrant polychrome palette, this large chinoiserie dish demonstrates the Delft potters’ imaginative interpretation of East Asian imagery. Created around 1740, the composition brings together figures, architecture, birds, flowering plants, and dramatic rockwork within an elaborate garden landscape.

At the center, two figures bearing vessels stand within a pavilion, while a “Long Eliza” figure holding a rabbit appears beside a garden fence. Birds animate the surrounding landscape: one perches high in a pine tree, while another appears to observe a small insect in flight. A richly decorated green-ground border of flowers and foliage frames the scene and enhances the dish’s striking visual character.

Large dishes such as this were often intended as decorative objects, displayed on étagères, in glass-fronted cabinets, or on walls. Carefully preserved across generations, they offer a fascinating glimpse into the enduring European fascination with Chinese motifs and the distinctive ways in which Delft painters reinterpreted them.

🔹Delve into details
Polychrome Chinoiserie Large Dish
Delft, circa 1740
Diameter: 34.4 cm (13 9/16 in.)
Object number: D8252

26/08/2026

A striking example of Delftware from the late seventeenth century, this octagonal bottle vase was produced at De Grieksche A (The Greek A) factory around 1680, during the tenure of Samuel van Eenhoorn.

Painted in blue and manganese, the vase depicts elegant chinoiserie scenes of figures in fenced gardens, inspired by Chinese porcelain and interpreted through the distinctive Delft aesthetic.

Van Eenhoorn’s work is celebrated for its refined painting and characteristic use of trek: a fine outline used to accentuate figures and decorative details. His production coincided with the beginning of Delftware’s celebrated “Golden Age,” when technical mastery and artistic ambition reached exceptional heights. Among the factory’s distinguished clientele were King William III and Queen Mary II, both passionate collectors of Delftware.

🔹Delve into details
Octagonal Bottle Vase
Delft, circa 1680
Marked SVE and numeral 3 for Samuel van Eenhoorn
De Grieksche A (The Greek A) factory
Height: 21 cm (8.3 in.)
Object number: D2606

25/08/2026

Combining delicate decoration with a practical purpose, this pair of petit feu butter tubs illustrates the elegance of Dutch dining culture around 1740. Made in Delft, the tubs, covers, and stands reflect the increasingly elaborate table settings that became fashionable during the eighteenth century.

Inspired by Meissen porcelain, each oval tub is entwined with a green foliate garland and painted with flowering peonies. The stands feature delicate landscapes with sailboats and turreted buildings, while each cover is crowned by a charming seated dog finial. Gilt details and colorful enamel decoration were made possible by the petit feu technique, which introduced a second, lower-temperature firing and allowed Delft potters to work with delicate colors such as pink as well as gold.

Butter tubs held an important place on the Dutch table, where bread and butter formed the basis of many meals. By translating this everyday vessel into an elaborate ceramic object, Delft potters transformed a practical necessity into a fashionable expression of hospitality and taste.

🔹Delve into details
Pair of Petit Feu Butter Tubs, Covers and Stands
Delft, circa 1740
Unidentified VA mark in blue
Height: 9.4 cm (3.7 in.)
Length: 18.2 cm (7.2 in.)
Object number: D2177

24/08/2026

Let’s pay a visit to Musée National de Céramique in Sèvres!

As early as 1740 under the influence of Madame de Pompadour, mistress of King Louis XV and an influential figure in the art field, a porcelain factory was installed in one of the towers of the royal Château de Vincennes. In 1756 the factory moved to a building in Sèvres, where it still exists as a museum. The founder of the Musée national de Céramique was factory director Alexandre Brongniard (1770-1847), who had the ambition to broaden the knowledge regarding ceramics, and inaugurated the first museum that was entirely dedicated to ceramics and glass in 1800. Therefore, since its creation, the museum has the vocation to gather, protect and display the ceramics of all periods and places. Today, the institution has assembled more than 50,000 objects, of which at least 300 pieces of Dutch Delftware.

23/08/2026

A meeting of two artistic worlds.

These elegant Delft bottle vases, made around 1690, beautifully illustrate how Dutch potters transformed the influence of Chinese porcelain into something entirely their own. Their graceful proportions derive from Chinese Transitional porcelain of the Chongzhen period, while the decoration reflects a uniquely Dutch interpretation of imported designs.

Painted in deep cobalt blue, each vase features tranquil scenes of ducks in rocky riverside landscapes framed by flowering branches and ornamental borders. In Chinese art, waterfowl often symbolize harmony and renewal, motifs that resonated with Dutch collectors who eagerly embraced the beauty of Asian porcelain. Delft painters preserved these evocative landscapes while introducing local floral elements, creating a harmonious blend of Eastern inspiration and Western craftsmanship.

Pairs of bottle vases from this early period are uncommon, making these refined examples particularly special. They stand as lasting reminders of the vibrant artistic exchange between Europe and Asia during the seventeenth century.

🔹 Delve into details:
Pair of Bottle Vases
Delft, circa 1690
Height: 31 cm (12.2 in.)
Object no. D2611

21/08/2026

A tiny figure with a heartfelt message.

At first glance, this charming Delftware model may seem like a simple depiction of a child seated in a high chair. In the eighteenth century, however, objects like this carried a much deeper meaning. High chairs, cradles, and other nursery models were treasured gifts presented to celebrate engagements, weddings, and, most importantly, the birth of a child. They symbolized hopes for happiness, prosperity, and the continuation of the family.

This delightful example is made even more personal by the inscription on its tray: "Dag zoet kind" ("Hello, sweet child"). More than a decorative object, it served as a lasting keepsake that commemorated one of life's most joyful occasions.

Beautifully decorated in vibrant polychrome colors, the figure reflects the warmth of family life while showcasing the remarkable craftsmanship and imagination of Delft potters during the eighteenth century.

🔹 Delve into details:
Child in a High Chair
Delft, circa 1765
Height: 11.6 cm (4.6 in.)
Object no. D2646

What do you think makes this figure so special, the touching inscription, its connection to family life, or its vibrant Delft decoration?

20/08/2026

This exquisite blue and white Orangist plate, dated 1747, celebrates the portraits of Prince William IV of Orange and Princess Anna of Hanover. The inscription, an abbreviation of their names, reads in full: Princess Anna - Prince Willem Carel Hendrik Friso.

The year 1747 marked a pivotal moment in Dutch history, as William IV was proclaimed hereditary stadholder of all seven provinces of the Dutch Republic. This significant event unified the role of stadholder across the Republic for the first time, solidifying the power and influence of the House of Orange-Nassau. Delftware of this period often celebrated such historical milestones, featuring elegant portraiture and national symbolism, either in classic blue and white tones or in vivid colors.

🔹 Delve into details:
Blue and White Orangist Plate
Delft, dated 1747
Object no. D2299

19/08/2026

Not every tureen was meant to look like a tureen.

During the eighteenth century, Delft potters delighted diners with imaginative tableware that blurred the line between function and sculpture. Among the most charming creations are these duck tureens, where the birds themselves form the covers, transforming a practical serving vessel into a delightful centerpiece.

Made around 1760 at De Porceleyne Byl (The Porcelain Axe) factory, this rare pair reflects the growing fascination with naturalism that swept across Europe. Influenced by the celebrated trompe l'oeil ceramics of Strasbourg, Meissen, and Chelsea, Delft artisans embraced lifelike animal forms while adding their own vibrant palette of manganese, blue, green, and yellow.

Whether displayed on a festive dining table or admired in a cabinet, these duck tureens perfectly illustrate the playful creativity and technical skill that made eighteenth-century Delftware so distinctive.

🔹 Delve into details:
Pair of Polychrome Duck Tureens and Covers
Delft, circa 1760
Marked with the axe for De Porceleyne Byl (The Porcelain Axe) factory
Height: 11.8 cm (4.6 in.)
Object no. D2027

18/08/2026

This exquisite polychrome plate offers a captivating glimpse into the world of the Commedia dell’Arte, a theatrical tradition that has delighted audiences for centuries. Crafted in Delft around 1735, it features a finely rendered depiction of Scaramouche, one of the genre’s most iconic characters.

A master of physical expression, Scaramouche was known for his agility, vivid gestural storytelling, and a character defined by suspicion, miserliness, and a hot temper. The design on this plate may draw inspiration from Antoine Trouvain’s late 17th-century engraving of the character, as described in Angelo Constantini’s "The Birth, Life, and Death of Scaramouche" (Paris, 1695).

Marked for Adriaan van Rijsselbergh, a celebrated gold painter for the De Grieksche A Factory, the piece reflects the technical and artistic mastery of early 18th-century Delft artisans.

🔹Delve into details:
Polychrome ‘Commedia dell’Arte’ Plate
Delft, circa 1735
Marked AR for Adriaan van Rijsselbergh
inv. no. D1425

17/08/2026

It’s Museum Monday! We take you for a royal visit to the Princessehof in Leeuwarden.

The Princessehof in Leeuwarden was formerly a small palace built in 1693. In 1731, Marie Louise van Hessen-Kassel, dowager of Orange, acquired the building. After the death of her husband, John William Friso, Prince of Orange, she acted as a regent for her son Willem IV who was still too young to govern.

The Princess was passionate for ceramics and she displayed her large and diverse collection in her new home. Her collection resides today in the Naussaukamer, a period dining room in the museum designed in the baroque style. After her death, the palace was separated into three houses which were transformed into a museum in 1917.

The institution houses a splendid collection of more than 35,000 ceramics that include Chinese porcelain, art nouveau and also a superb range of Delftware objects. Amongst the most impressive pieces of the museum is a magnificent blue and white flower vase marked for Lambertus Cleffius, the owner of De Metaale Pot (The Metal Pot) factory from 1679 to 1691. This extremely rare shape was inspired by the French fashion of the time.

Adres

Nieuwe Spiegelstraat 45-b
Amsterdam

Openingstijden

Maandag	09:30 - 17:30
Dinsdag	09:30 - 17:30
Woensdag	09:30 - 17:30
Donderdag	09:30 - 17:30
Vrijdag	09:30 - 17:30

Telefoon

+31206233103

Website

http://www.aronson.com/

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