History

For a factory that has been in operation for nearly two centuries, surprisingly little has been documented about De Drie Klokken (The Three Bells) factory. However, through the analysis of literature, archival sources, and the finely crafted Delft faience produced at De Drie Klokken, we aim to develop a more comprehensive understanding of its history and product range.

It all started with Barbara Rotteveel, the widow of Simon Mesch, a notary from Delft, who established De Drie Klokken factory in 1670. The name of the factory was inherited from the brewery formerly established on this address.(1)

In the seventeenth century, women had fewer legal rights than men and faced significant restrictions in financial and property transactions. For instance, they were not permitted to purchase real estate independently. As a result, when purchasing land and buildings for the pottery factory, Rotteveel’s brother-in-law, the potter Joris Jansz. Mesch, served as the official buyer.(2)

This was not the only hurdle she faced in becoming a successful entrepreneur. In the seventeenth century, ownership of a pottery factory typically required passing the Saint Luke’s Guild master potter test and paying the necessary guild fees. However, exceptions existed. A master potter could be appointed as a winkelhouder (shopkeeper) to manage the business until the owner obtained the master status. Widows of pottery owners were granted more flexibility under a 1652 ordinance, which allowed them to inherit and run their late husband’s pottery without taking the master’s test. Even if they remarried, their new husbands could assist in management, but they were only required to pass the test if they wished to continue the business after the widow’s death.(3) Barbara Rotteveel, however, did not inherit a pottery factory—she purchased a property and established a pottery herself. Since she was not covered by the widow’s exemption, she was required to take and pass the master potter’s test to operate her business legally, making her one of the few skilled female pottery owners of her time. She is officially registered as a shopkeeper on March 31, 1671.(4) However, in 1675 Jan Jansz van der Laen (Laan) is appointed as master potter in order to ‘liberate’ the pottery. Why Barbara required a master potter, despite seemingly having the necessary documentation herself, remains unclear.

Barbara’s actions demonstrate a determination that undoubtedly helped establish De Drie Klokken as a significant player in the Delft pottery industry. On multiple occasions, Barbara joined collectives. For instance, in 1675, she participated in a collective for firewood and unrefined salt, and in 1684, she joined a group of potters seeking to reopen trade with England.(5)

Barbara passed the factory on to her son, Simon Simonsz. Mesch, who acquired it for his son, Pieter Simonsz. Mesch, in 1706.(6) Simon probably had been involved in his mother’s business before. In 1678, he signed a business agreement on her behalf regarding an agreement about the collective effort of potters to strengthen their position. However, this was not a formal legal arrangement, as evidenced by the fact that Barbara herself continued to sign other agreements.(7)

Pieter, a master potter, carried on the internationally oriented business that his grandmother had built over many years. With established connections in Belgium, Germany, Denmark, France, and England, their products must have been widely distributed across Europe.(8) Besides, he functioned as chief of the St Luke’s guild.(9)

An inventory taken upon Pieter’s passing in 1728 provides an interesting and scarce insight into the factory’s rather compact assortment. It included plates, bowls, cups, jars, and chargers in various sizes.(10) Additionally, with more than 2,000 tiles and tile production materials in stock, it appears that tile-making was a secondary product for De Drie Klokken at the time. The jars mentioned came in eighteenth different sizes, possibly including pharmacy pots.

After Pieter’s passing, control of the factory passed to another woman—his widow, Maria van Ophoven. In 1729, she remarried Hendrik van Willigen, and together they managed De Drie Klokken. Unfortunately, their tenure left little trace. Hendrik was no stranger to the pottery industry, as he was the brother of Cornelia van Willigen of the De Grieksche A (The Greek A) factory.

In 1743 Adriaan van der Does, master potter, became owner of the factory. No details about the production during his ownership are recorded. After his death in 1750, leadership once again fell into female hands, as his widow, Cornelia Gael (or Gaal), successfully ran the company for more than ten years. Cornelia grew up in a potters family. Her father Jan Abrahamsz being the owner of De Twee Scheepjes (The Two Little Ships) and her mother Elisabeth van der Planck was the daughter of the owner of De Blompot (The Flower Pot). Family ties—also among former owners of De Drie Klokken—with other Delft factory owners were common in the Delft pottery industry and likely strengthened the company’s position, making it easier to establish collaborations and partnerships.

Their son, Willem, took over in 1761 following his mother’s passing. As master potter and owner, he registered the mark ‘WD’ in 1764; however, no examples of objects bearing this mark are known to us. The figurative mark featuring three bells was already in use during Van der Does’ directorship and was used alongside or possibly instead of the ‘WD’ mark (Fig. 1). The exact date of its introduction remains unknown. One of the earliest examples of the figurative three bells mark is on a remarkable pair of polychrome cow figures (Fig. 2). Uncommon within the assortment, these figures stylistically align with the period of Willem van der Does—or possibly even earlier.

When De Drie Klokken was sold in 1784, it was acquired by thirteen individuals, forming the Compagnieschap (Company) De Drie Klokken. Under various owners and locations, the company remained in operation until 1853. One of its partnerships, Firma van Putten & Co., operated from 1812 to 1840. They used the mark IVP&Co or JVP&Co, several examples of which have been preserved on products.(12) That the figurative three bells mark was still in use suggests a commemorative plate with this mark, featuring Commander Chassé (Fig. 3).

Products

A study of important collections, both domestically and abroad, reveals that De Drie Klokken primarily focused on the production of utilitarian ceramics. No pieces from the 17th century are known to be attributed to the factory. However, objects marked for De Drie Klokken from the eighteenth century—and especially the nineteenth century—appear in greater numbers.

Among the surviving pieces are plates and garniture sets (Fig. 4), but the most common are tobacco and apothecary jars. These jars likely became the factory’s specialty as early as the 18th century, as evidenced by the large number still in existence bearing the De Drie Klokken mark. (13) De Drie klokken was the most significant producer of pharmacy pots in Delft and made at least 21 different motives (Fig. 5). Many are preserved in museum collections, such as Museum Boerhaave in Leiden.

By at least the nineteenth century, armorial and commemorative wares had also become part of the factory’s production, including Oranjegoed—ceramics featuring symbols of the Royal House of Orange and contemporary heroes such as Baron Chassé mentioned above and J.C.J. van Speyk.(15)

Notably, the factory produced both standard-quality and exceptionally fine pieces. This flexibility undoubtedly helped the business survive during economically challenging times. During the period of Jacobus van der Putten & Co, the factory experimented with copying 18th-century styles. This was executed so convincingly that a renowned collector like J.F. Loudon purchased a set of vases around 1870, believing them to be antique—when in reality, they were only about thirty years old (Fig. 6).

De Drie Klokken’s long history exemplifies the innovation and adaptability that defined Delft’s pottery industry. From its early years under Barbara Rotteveel to its later experiments in reviving 18th-century styles, the factory consistently responded to market demands while maintaining high-quality production. Though much remains unknown about certain periods of its operation, the surviving pieces provide valuable insight into its craftsmanship and legacy. As museums and collectors continue to preserve its works, De Drie Klokken remains an important chapter in the story of Delftware.

Notes

1. Hoekstra-Klein, 2000, p. 23
2. Hoekstra-Klein, 2000, p. 26
3. Van Aken-Fehmers, 2001, p. 58
4. Hoekstra-Klein, 2000, p. 26
5. Hoekstra-Klein, 2000, p. 77 and p. 79
6. Hoekstra-Klein, 2000, p. 27
7. Hoekstra-Klein, 2000, p. 78
8. Hoekstra-Klein, 2000, p. 66-68
9. Hoekstra-Klein, 2000, p. 105
10. Hoekstra-Klein, 2000, pp. 45-46
11. Merken van de Meester Plateelbakkers binnen Delft, 1764, City Archive Delft, Inv. no. 1732
12. For example, the garniture set shown in Fig. 6 of this article is part of the Rijksmuseum’s collection (inv. no. BK-16108-C). Another garniture set from the same period is also held by the Rijksmuseum.
13. Besides the examples in the (former) Aronson Collection, many pieces are preserved in the collections of Museum Boerhaave in Leiden, the Nederlands Openluchtmuseum in Arnhem, and Het Prinsenhof in Delft.
14. Wittop Koning, D.A. Dr, Apothekerspotten uit de Nederlanden, Utrecht, 1991, p. 68
15. Mentioned in D.F. Lunsingh Scheurleer, Oranje op aardewerk, Lochem, 1994, p. 88. The J.C.J. van Speyk plate was part of the Aronson Collection (inv. no D2464)
16. Van Dam, 2004, p. 199

Literature

Hoekstra-Klein, Wik, Geschiedenis van de Delftse Plateelbakkerijen, Vol. 4, De Drie Klokken’, Delft, 2000

Aken-Fehmers, van Marion S., Loet A. Schledorn, Titus Eliëns, Delfts Aardewerk. Geschiedenis van een Nationaal Product, Volume II, Zwolle, 2001

Dam, J.D. van, Delffse Porceleyne. Dutch Delftware 1620-1850, Zwolle/Amsterdam, 2004

D.F. Lunsingh Scheurleer, Oranje op aardewerk, Lochem, 1994

Wittop Koning, Apothekerspotten uit de Nederlanden, Utrecht, 1991