In-depth Articles

‘Do not ingest, do not breath dust’ warns Ralph Mayer in The Artist’s Handbook of Materials and Techniques in the white lead section, and indeed, since 1994, the material has been banned from sale within the European Union except under special conditions.[1] Today many traditional potters use non-lead glazes, but in the seventeenth and eighteenth…

A widespread interest in exoticism and eclecticism took hold in the late nineteenth century during a period known as the Aesthetic Movement. There was a rediscovery of the Golden Age of Delftware as collectors and intellectuals sought out objects designed in an orientalist style. This marked the first serious attempt to assemble, classify and study…

The windmills that dot the landscape of the Netherlands are as familiar as the local tulips, wooden shoes, and cheese. While they are visually charming and recall a past era, the invention of windmills shaped the Netherlands and its inhabitants. Windmills have existed in many different shapes in Europe since 1050. Structural mills with horizontal…

The range of colors seen on 18th century Delftware were achieved through various techniques, using skills honed throughout many years. Not every paint color could be realized in a single firing process, and there were often several rounds in the kiln. Ceramics painted with grand feu colors of blue, green, and yellow were fired at…

The Dutch East India Company, or the VOC for short (Verenigde Oost Indische Compagnie) was established by charter in 1602. The VOC was first organized to profit from the East Asian spice trade in which the Portuguese already had a stronghold. During the 16th century, the Portuguese established a wide network with settlements in Sri…

Dutch Delftware plaques stand out amongst the many examples produced during the 17th century for their extreme delicacy and meticulousness. The "porcelain paintings,” as they were referred to in household inventories, were intended to be admired as if they were paintings on panel, canvas or copper. Unfortunately, because of their similarity in appearance to prints…

Trompe l’oeil, or deceive the eye, was a technique used in both modeling and painting Delftware to captivate and fool the viewer. One of the predominant centers of production of these naturalistic forms was Delft, where the city’s potteries quickly accommodated the new taste of the nobility and the wealthy bourgeoisie for adorning their tables…

The puzzle jug is one of the oldest jokes in the Delft potters’ continually playful repertoire. Puzzle jugs were intended as an amusing tavern game or a conversation piece during a dinner party. One can only imagine the popularity of these objects in homes and taverns as drinkers attempted to consume the contents without causing…

Cows are the most famous and beloved subjects depicted in Dutch Delftware. Since the eighteenth century they have adorned mantelpieces, furniture and window sills. They were always produced in pairs, with their heads turned towards each other and tongues lapping. Remarkably, these cows are almost always painted with lavish swags of floral garland draped around their…

While Dutch Delftware comprises many different colors and styles, it is most commonly known for its characteristic blue and white decoration. Many variations within the simple scheme of blue and white can help date an object and place it within an historical context. While fashion largely dictated the color changes, the varieties of blue in…