Main image: Blue and White Rectangular Marine Plaque, Delft, circa 1660, former Aronson Collection (inv. no. 25045)

Since 1975, organized to celebrate the 700 anniversary of Amsterdam, every five years, the waters of Amsterdam’s IJ transform into a sea of masts, sails, and maritime stories during SAIL Amsterdam—one of the largest nautical events in the world. This spectacular gathering of tall ships and historic vessels celebrates the Netherlands’ rich seafaring heritage, evoking the grandeur of the 17th century, when Dutch ships ruled the oceans and Amsterdam stood at the center of global trade. This year, from August 20 to 24, the tenth edition of SAIL will mark a special celebration for the city’s 750th anniversary.

The maritime prowess on display during SAIL Amsterdam is more than a nostalgic tribute to nautical engineering; it serves as a vivid portal into an era that fundamentally shaped Dutch culture, economy, and the arts. During the Dutch Golden Age, the ships sailing from Amsterdam’s harbors carried not only goods, but also ideas, fashions, and artistic influences from across the globe.

Central to this global expansion was the Dutch East India Company (Vereenigde Oostindische Compagnie, or VOC), whose fleets charted ambitious routes to the East Indies in pursuit of spices, silks, tea, and porcelain. These precious cargoes arrived in Amsterdam and swiftly transformed European tastes and interiors.

Equally vital—though often less celebrated—was the earlier and enduring Baltic trade, frequently referred to as the “Mother of All Trades.” From the cold ports of the Baltic Sea came essential raw materials: grain to feed the growing population, timber and tar to build ships, and hemp for rigging and sails. Without this steady flow of supplies, the VOC’s majestic fleets could neither have been constructed nor sustained.

It is well known that the emergence of Delft faience was closely tied to the global commercial network of the 17th century, particularly through the import of Chinese porcelain. Yet what is less frequently emphasized is the broader cultural resonance of maritime life within Dutch society. While its impact was most evident among merchant and seafaring circles, traces of nautical themes and references can also be found—though more subtly—within the decorative arts and aspects of everyday life.

Given the Netherlands’ deeply rooted maritime identity, one might expect nautical themes to be a dominant motif in Delftware. While remarkable maritime scenes were indeed created in Delft, such imagery remains relatively rare on Delft pottery. An exception is found in Delft tiles, where maritime scenes appear with a greater frequency. Ships and sea battles were far more commonly depicted in paintings—often described in period inventories as zeebatalje (naval battles) or stormpie (ships caught in storms).(1)

This may in part be due to the complexity of rendering ships, with their intricate rigging, proportions, and architectural detail—elements more suited to the precision of painting than to the stylized techniques of tin-glazed earthenware decoration.

The theme became more popular in the eighteenth century, especially in commissioned works, such as plates portraying ships accompanied by the owner’s name and the date.(2) Some of these were produced in larger quantities, suggesting they served as gifts to commemorate business relationships or partnerships. Others likely marked events such as a safe return from sea, the acquisition of a new ship, or an anniversary.

Wall plaques with finely detailed maritime scenes occupy a distinctive place in Delft’s artistic legacy. From the late seventeenth century onward, most of these plaques were adapted from contemporary engravings by artists like Willem van de Velde I and II, Simon de Vlieger, Adriaen van (der) Salm and Hendrick Cornelisz. Vroom, functioning much like framed paintings (Main image).

Although rare, we have had the privilege and pleasure of presenting a modest yet distinguished group of such maritime pieces over the years. The upcoming tenth edition of SAIL provides the perfect occasion to reflect on this theme and to share ten highlights from our (former) collection.

Highlights from the Collection

To start with a remarkable set of twelve “month” plates illustrating successive stages of whaling (Fig. 2). Dutch whaling took place from April through August in the Greenland Seas. Over the seventeenth century, the hunt expanded from bays and coastal waters to the open ocean and eventually into Arctic territories, a progression vividly depicted on the plates (note the polar bear on plate 10). These northern expeditions relied on stout-hulled Groenlandvaarders, while the lighter vessels used in the Davis Strait required less structural reinforcement. The whaling industry brought considerable prosperity to several Dutch towns—most notably Amsterdam, Zaandam, and De Rijp in North Holland—as well as to surrounding villages.

The series of twelve ‘Whale Fishery’ plates has a counterpart series of twelve ‘Herring Fishery’ plates. (Fig. 3) Both are decorated after the “Groote Visserij” (“Great Fishery”) print series engraved by Adolf van der Laan (ca. 1690–1742), based on drawings by Sieuwert van der Meulen (before 1683–1730), and published by Petrus Schenk in Amsterdam around 1720. Although the complete work by an der Laan is entitled ‘Groote Visserij, it actually refers to the herring fishery only. For many years, the Dutch herring fishery was the most influential in Europe. Even after its heyday, Dutch fishing techniques continued to be emulated for at least 150 years. Much like whaling, the herring fishery contributed significantly to the prosperity of numerous Dutch cities. These sets represent the most extensive maritime narratives found in Delftware.

An impressive, large oval marine plaque (Fig. 4), formerly in our collection, greatly exemplifies how the glory of Dutch seafaring was translated into Delftware. Faience painters often combined motifs from several prints, which appears to be the case here. The varying scales of the ships, the mixture of ship types from different periods, and the inclusion of both naval warships and inland vessels—elements a trained marine artist would not combine—support this interpretation.(3)

Another highly unusual piece is a yellow-ground plaque painted in trompe-l’œil (“deceive the eye”) technique (Fig. 5). Blue-and-white rectangular panels depicting seascapes and landscapes appear scattered across the yellow surface, resembling postcards or Delft tiles arranged on the plaque. Sailboats feature prominently in four of the panels, evoking the traditional Dutch landscape so often celebrated in art.

A pair of polychrome plaques also merits attention (Fig. 6). Each features sailing ships within a cartouche flanking a central scene of an amorous couple—possibly symbolizing a sailor’s proposal. The ships, bearing Dutch flags in full color, may represent the man’s maritime life, while the alternating garden scenes evoke the woman’s domestic sphere.

A synergy of cultures is reflected on a square chamfered plaque (Fig. 7). The far bank shows a partly Dutch city with a windmill, a church topped with a peacock-shaped weather vane, and another church bearing a cross. A fantastical pagoda dominates the center, while Italianate buildings occupy the near bank. The scene combines Dutch, Mediterranean, and East Asian elements—regions central to Dutch maritime trade.

When considering maritime history and Delftware, an exceptional plaque depicting the Twelfth Siege of Gibraltar (1704–1705) must not be overlooked (Fig. 8). No other known plaque of this size illustrates a naval battle scene. The combined Anglo-Dutch fleet defeated the Spanish-French alliance, lifting the siege of Gibraltar. The image was adapted from an optical print by German artist Balthazar Frederick Leizelt (ca. 1780), which in turn mirrored an engraving by Johann Jakob Kleinschmidt (probably 1687–1772). As the Great Siege of Gibraltar began in 1779, Leizelt’s reuse of this earlier event may have served to reframe the conflict, lending the plaque dual historical resonance.(4)

That maritime scenes also graced the dining table is shown by a pair of butter tubs (Fig. 9). Each features a trade scene with ships in the background and two merchants beside a barrel and curly leaves. The seated dog-shaped covers suggest a bespoke commission—perhaps for an international merchant with a fondness for dogs.

A dated blue-and-white tray from 1783, shows a shipyard (Fig. 10). Shipbuilding was a major industry in the Dutch Republic. For instance, the VOC commissioned 350 ships in the eighteenth century at a total cost of 823 million guilders. Although the industry declined during the century, it was revitalized around 1780 due to wartime demand. This tray likely commemorates such activity and may have been made for someone affiliated with the VOC or from a key shipbuilding center like the Zaanstreek.

The overseas tobacco trade remained a vital source of Dutch income, making it a popular subject in art. A pair of tobacco jars from De Vergulde Blompot (“The Gilt Flowerpot”) factory features a Turkish trader in a turban before a trade vessel (Fig. 11, inv. 1582), representing commerce with the Levant.

The previous examples demonstrate how the maritime world was meaningfully integrated into domestic decoration—imbuing interiors with symbols of Dutch naval power, commercial enterprise, and personal stories. In this context, SAIL Amsterdam is more than a festive maritime spectacle. It is a living tribute to the spirit of exploration and enterprise that shaped not only the Dutch Republic’s trade and naval might, but also the flourishing of its craftsmanship—embodied in the enduring beauty of Delftware.

 

 

 

 

 

 

 

 

 

 

 

Notes

1. Jan Pluis, 2018, p.7 and p. 9
2. Robert D. Aronson, Celine Ariaans, 2023, p. 122, 210, 214, 244
3. Aronson, 2011, p. 74
4. Femke Haitsma Mulier, aronson.com, 2024

Literature

Aronson, Robert D., Birte Abraham,  In the Eye of the Beholder. Perspectives on Dutch Delftware, Amsterdam, 2011

Aronson, Robert D., Celine Ariaans, Dated Delftware, Amsterdam, 2023

Haitsma Mulier, Femke, Gibraltar, published online on: aronson.com, 2024

Pluis, Jan, Schepentegels, Leiden, 2018