A very rare and important Dutch delft basin, Adrianus Kocks, De Grieksche A, 1686-1701

Modelled after a metal shape, moulded on the sides, two indented larger sections, decorated with dense floral patterns including a border of cabbage roses and sprays of mixed flowers, the borders with Chinese porcelain inspired elements, the well with a band of coin-pattern alternated with lozenges with four dots, 46cm x 36.2cm, AK mark for Adrianus Kocks, owner of De Grieksche A, 1686-1701

Provenance:
European private collection;
Thence by descent to the present owner

De Grieksche A factory

Adrianus Kocks and his wife Judith Kocks-van Eenhoorn took over the Grieksche A factory from Lambertus van Eenhoorn in 1686. It is known that Kocks, together with Lambertus Cleffius, owner of De Metaale Pot, tried to expand into the French market. But the height of Adrianus Kocks's commercial entrepreneurship was undoubtedly the reputation he built up as the main supplier of Delftware to the court of King William III and his wife Queen Mary. After having left the Netherlands for England, William and Mary ordered Delftware in large quantities from Adrianus Kocks. In January 1701, Adrianus Kocks passed on the workshop to his son, Pieter. He died only five months later and his coffin was carried by 18 bearers, an indication of the high esteem in which he was held in in Delft. For more information on the factory history of De Grieksche A, see Delfts Aardewerk: Geschiedenis van een Nationaal Product (1999), pp.64-153.

William and Mary as patrons of De Grieksche A factory

Much of the evidence about the orders placed by William and Mary is circumstantial, partly because the factory records have mostly not survived. Archaeological research conducted in the gardens around the Dutch Royal Palace of 'Het Loo' in Apeldoorn has revealed some exceptional objects marked SVE for Samuel van Eenhoorn, the owner of De Grieksche A before Adrianus Kocks such as garden ornaments and tulip vases. The Royal couple was passionate about Delftware and Mary certainly played an important role placing orders and defining its use in the Royal interiors. In one of his poems, Jan d'Outrein (1662 – 1722), suggested that it is highly possible that some of the most remarkable pieces were made after the Queen's specifications. She also probably contributed to the spread of the taste for expensive luxurious Delftware amongst the English aristocracy. It is now widely accepted that Queen Mary contacted Samuel van Eenhoorn shortly after she moved to the Netherlands. After Samuel's death, De Grieksche A factory stayed under the patronage of the House of Orange for many years. In her recent publication Koninklijk Blauw (2020), Suzanne Lambooy notes the influence of Daniel Marot, who joined the Household in 1684 and was charged with most of the designs for the gardens and interiors of the various Royal Palaces. Marot was instrumental in introducing a new Baroque style which was met with enthusiasm in the courts of Europe. Wall-covering textiles and mirrors were combined with carved giltwood consoles and monumental Delftware, and by cleverly integrating various previously more isolated interior elements, Dutch Delftware was promoted to play an integral role in the conception of a Royal interior. More and more elaborate and ambitious shapes were designed for the Royal Court, such as the famous tulip vases and large garden vases, produced, amongst others, by De Grieksche A. It is likely that this exceptional basin can be seen in the context of these expensive and technically highly accomplished pieces made for the Court of William and Mary or one of their entourage.

For further reading on Royal patronage of De Grieksche A see also: A.M.L.E. Erkelens, 'Delffs Porceleijn' van koningin Mary II: Ceramiek op Het Loo uit de tijd van Willem III en Mary II. Queen Mary's Delft porcelain': Ceramics at Het Loo from the time of William and Mary, Zwolle.