In-depth Articles

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…

Dining has a history of its own. From the fifteenth century onwards, a formal meal became increasingly divided into different courses. The meal began with a course of cold foods served from the buffet or sideboard, followed by hot dishes from the kitchen: roasts, pastries and soup. The meal would end with what would eventually…

For centuries the technique of making earthenware covered with a clear or colored glaze had been well known throughout the Middle East and Europe, but by the middle of the fifteenth century, during the early years of the Italian Renaissance, it was the Italian potters who developed the highest skills in the use of polychrome…

Around 1700 the Dutch pottery painters in Delft were experimenting with beautiful intense blue grounds. Nowadays, we call this ‘Persian Blue’ originally from the 'Bleu Persan'. By the end of the seventeenth century, potters were so skilled in keeping the tin glaze stable during the fire, that they could experiment with decorations. At some factories,…

It would seem rather impossible to speak of ceramics, either earthenware or porcelain, without paying tribute to the color blue. This story cannot be told without explaining the influence of the Middle East, which one can see in the early Chinese stoneware and porcelain production. The cobalt ore, needed to create the intense blue, was…

It was in the late seventeenth century, under the patronage of Queen Mary II, who was as passionate about Chinese blue and white porcelain and its local counterpart, Dutch Delftware, as she was about her gardens, that the Delft factories developed their technical skills and virtuosity in the production of all sorts of ’vases with…