The history of Delft faience and its enduring success can be traced back to the early seventeenth century. The early production of Delft faience remains largely enigmatic, as many of the initial pieces are still difficult to attribute with certainty. However, ongoing archaeological discoveries, art historical research, and newly established connections continue to shed light on the types of products that were made, gradually offering deeper insights into its origins. During TEFAF 2025, we present a collection of early Delftware that features several groups of decoration. This article aims to enrich these objects with the important history of the early development of Delft faience.

The Beginning

A pivotal moment in the evolution of Dutch ceramics occurred in the early 1600s, driven by the growing influence of Asian trade. The auctioning of porcelain cargoes from two captured Portuguese ships, the São Tiago in 1602 in Middelburg and the Santa Catharina in 1604 in Amsterdam, introduced the Dutch to Chinese porcelain on a larger scale. This delicate and exotic material, much thinner and brighter than locally produced majolica, inspired Dutch potters to innovate. While Dutch potters were primarily engaged in producing majolica and tiles, the allure of Chinese porcelain prompted them to experiment with refining their techniques and materials.

Initially, this experimentation led to the creation of an intermediate material now known as majolica-faience.(1) The earliest known dated example is a plate from 1608 in the collection of the Kunstmuseum, The Hague.(2) Like the later products, majolica-faience was covered with tin glaze on both the front and reverse. They differed in their production method, as the early wares were stacked and fired unprotected in the kiln. This process resulted in a surface that was less bright white compared to later products, which were fired in protective saggars. Additionally, the fronts display prun marks, a characteristic caused by a different method of stacking during firing, similar to the production of majolica.

The transition to full faience, at the time described as Hollants porceleyn (Dutch porcelain), or even more precise Delfts porceleyn and Haerlemsch porcelain occurred relatively quickly.(3) Three plates with Chinese kraak decoration, covered with tin-glaze on both sides, fired in saggars and dated 1619, illustrate the early development of this new product and the rapid adaptation of at least one workshop to meet the growing demand for porcelain-like ceramics.(4) The plates have been unearthed in Amsterdam, Utrecht, and Hoorn, although the exact production sites cannot be definitively determined. However, the (modest) degree of refinement suggests they were produced in an experienced and well-equipped workshop, possibly located in Delft, Haarlem, Rotterdam, or Harlingen.(5)

The earliest Dutch faience, made between circa 1620 and 1640, is the hardest to attribute. In most cases, it can be traced back to the aforementioned cities, but rarely to a specific pottery workshop. Dated examples are exceptionally rare, and marked pieces are even less common.(6)

The initial production aimed at providing a cheaper alternative to the prohibitively expensive Chinese porcelain. Yet, until shortly before the mid-seventeenth century, the import of Chinese porcelain grew so significantly that prices dropped considerably, leaving little demand for a cheaper substitute, as the porcelain itself became more affordable. This resulted in Dutch/European-oriented blue-and-white ware such as a plate with a fish (Fig. 1). It was not until the second half of the seventeenth century that the production of Delft faience surpassed that of majolica. Prior to this, it remained a significant, but secondary product, much like tiles.(7)

The decorative schemes on early pottery were initially inspired by Chinese porcelain and tile motifs, but the range eventually included landscapes, maritime scenes, armorial wares, and biblical scenes. The decoration was frequently set within geometrically or organically continuously decorated borders, and the style of these early products is generally naïve and not particularly refined.

 

 

 

 

 

Another step in evolution

The Verstraeten family, originally from Antwerp, played a key role in the development of Dutch faience. Willem Verstraeten, sent to Delft by his father Jan in 1613, worked at De Porceleyne Schotel, where he introduced innovative ceramic techniques. Archival records from 1617 to 1625 highlight his important contributions, including attempts to secure a patent for his methods.(8) After leaving Delft, Willem established his own pottery in Haarlem, supported by a substantial grant from the city council.(9) His significance to the pottery industry is further underscored by a 1628 poem by Samuel Ampzing, who praised him as the finest potter in the country.(10)

Willem’s children—Gerrit, Gysbrecht (or Gysbert), and Maria—were also active in the pottery industry. After Willem suffered a stroke in 1642, Gerrit purchased his father’s workshop. However, Willem soon recovered, established a new pottery, and later sued Gerrit over disputes related to their production agreements. While specific attributions to Willem’s workshop remain uncertain(11), Gerrit’s work can occasionally be identified through pottery waste and a marked piece bearing the initials ‘GV’ in the Frans Hals Museum.(12)

Possibly due to his conflict with Gerrit, Willem dismissed all his employees and arranged for his then-underage children, Gysbrecht and Maria, to hire them.(13) It remains unclear whether Gysbrecht and Maria operated their own workshop or continued working within their father’s pottery. Later, Gysbrecht managed his own company, De Gekroonde Keyser (The Crowned Emperor), in Haarlem before relocating to Delft.(14) Products possibly made by his hand remain unknown. However, a puzzle jug from the former Aronson Collection (inv. no. 1439), marked with the initials ‘GV’ and previously attributed to Gysbrecht Verhaast, presents an interesting case for further research and may potentially be linked to the Verstraeten family.

The Golden Age of Delftware

It was not until the second half of the seventeenth century that Delft faience evolved into an even higher artistic and technical level, ultimately achieving renowned success. Several factors contributed to the favorable climate that nurtured this development. The Peace of Münster in 1648 generally created a more stable trade environment. The concentration of power within the Republic into the hands of a few influential families led to increased national uniformity and stimulated domestic trade. This was particularly important because the Chinese civil war (mid-seventeenth century) nearly halted porcelain imports from China after 1647. Between 1647 and 1658, the void was partially filled by Japanese porcelain entering the Dutch market. These developments had a highly beneficial impact on the continued growth and refinement of Delft faience.

During the porcelain import hiatus, Dutch potters not only produced explicit copies of Chinese porcelain, which were highly sought after at the time, but also developed unique styles. One such unique style developed by Dutch potters is the combination of Chinese motifs and popular Dutch floral still lifes. An exceptionally rare example from this decorative group featuring highly distinctive bouquets and uniquely incorporating yellow alongside blue is a polychrome charger (Fig. 3) Previously, this type of decoration—whether solely in blue or polychrome—was often attributed to Frankfurt am Main. However, archaeological evidence of similarly decorated pottery waste excavated in Delft, alongside dated examples predating the start of the Frankfurt factory (established in 1666), excludes Frankfurt as the origin.(15)Heirloom pieces from Delft with comparable designs further confirm their production in Delft.(16)

Now that the market provided ample opportunity for Chinese-inspired Delftware, this theme flourished like never before. Representative of the diversity in shapes from this period are an openwork bowl from around 1670 (Fig. 4), an openwork basket from the same era (Fig. 5), and a double-gourd-shaped vase decorated with a spontaneous, naïve-style Chinese landscapes in the transitional style (Fig. 6). (17) These pieces not only give a glimpse of the wide variety of forms but also demonstrate significant differences in decorative styles.

During this same period, Delft faience reached its zenith of innovation, epitomized by the extraordinarily fine plaques created by Frederik van Frytom. Although these plaques form a unique and exclusive group, they represent the absolute pinnacle of Delft faience craftsmanship (Fig. 6).

 

This brief history of early Delftware illustrates the development of Dutch faience toward a more well-known period, during which potters like Samuel van Eenhoorn and Rochus Hoppesteyn introduced new innovations, heralding the next era.(18) However, it also highlights that despite  ongoing archaeological discoveries, art historical research, and newly established connections, much remains unclear regarding production sites and painters. This would be a fascinating subject for further study. For now, we must make do with what is available and, above all, take the time to appreciate the early beauty of this national product.

Notes

1. Sebastiaan Ostkamp, ‘Hollants Porceleyn en Straetwerck’, in: Vormen uit Vuur, no 223/224, 2014/1, p. 9, ill. 19 and p. 12
2. With inv. no. 0811424, depicted in Jan Baart, ‘Het Hollants Porceleyn 1600-1660’, in: ‘Vormen uit Vuur’, 180/181, 2003, p. 56
3. J.D. van Dam, ‘Geleyersgoet en Hollants Porceleyn’, in: Mededelingenblad Nederlandse Vereniging van Vrienden van de Ceramiek, 1982, p. 17
4. Depicted in: Baart, 2003, pp. 57. An interesting detail is that one of the plates derives from a cesspit of Abraham Bloemaert in Utrecht. The other two have been unearthed in Amsterdam and Hoorn
5. Ostkamp, 2014, p. 14
6. For example a rare blue and white altar vase, decorated in the Chinese Ming style and dated 1626, was unearthed in Delft and is now in a private collection (Van Dam, 1989, p. 5). A jug dated 1634 is depicted on p. 8 of the same publication
7. Ostkamp, 2014, p.15
8. Van Dam, 1982, p. 22
9. Van Dam, 1982, p. 25
10. Van Dam, 1982, p. 26
11. Ostkamp, 2014, 37
12. Baart, 2003, p. 60
13. J.D. van Dam, ‘Delfts Aardewerk. Een proeve tot her-ijking’, 2004, p. 12
14. Hoekstra-Klein, 2011, p. 110
15. Van Dam, 2004, p. 39
16. Ostkamp, 2014, p. 41
17. The transitional style in Chinese pottery refers to the artistic and technical developments that occurred during the late Ming dynasty (1368–1644) and the early Qing dynasty (1644–1912), particularly in the 17th century.
18. Samuel van Eenhoorn was the owner of De Grieksche A (The Greek A) factory from 1678 until his death in 1686 and Rochus Hoppesteyn was the owner of Het Moriaenshooft (The Moor’s Head) factory from 1686 until 1692.