History of Dutch Ceramics: Tin-Glazed Pottery and Delftware from the Netherlands

The Story of Dutch Ceramics

In the 1600s, Dutch potters started making red stoneware in Delft. One of them, Ary de Milde, tried to copy the style of I-hsing clay teapots from China. Around the late 1700s, a few workshops also produced creamware, but the most common type of pottery during this time was tin-glazed earthenware.

Back in 1525, Italian potters had already moved to Antwerp. They brought their skills with them, and their early Dutch work looked a lot like Italian ceramics. A few decades later, most of the ceramic production moved to Delft. By 1650, the beer industry in the city was shrinking. Old breweries started shutting down, and potters took over those buildings. They often kept the original brewery names like The Three Golden Ash-Barrels, The Four Roman Heroes, and The Double Jug. These studios became key centers for pottery.

Potters in Delft were part of the Guild of St. Luke. This group oversaw training and helped run a design school in town. That gave Delft a steady stream of skilled artisans and a strong design tradition.

At the same time, the Dutch East India Company, which had started in 1602, was shipping in huge amounts of Chinese and Japanese porcelain. These imports were a big hit, and local taste quickly turned toward Asian styles. Italian-inspired designs faded out. For much of the 1600s, Dutch potters focused on blue-painted tin-glazed ware that looked almost identical to Chinese porcelain. The top-quality copies were so close to the real thing that you had to look hard to spot the difference.

Delft artists also added local themes. They painted religious stories, everyday scenes, landscapes, and ocean views. These looked a lot like Dutch paintings from the same period. Tiles were a big part of the industry. While many single tiles still exist, large murals made from many tiles rarely survived in one piece.

At first, most pieces were painted with blue outlines or manganese. This outline, called "trek," was filled in with color before firing. Then, the potters coated the piece in a clear lead glaze called kwaart. That gave the surface a smooth, shiny finish. Red was a tricky color to use. It didn’t hold up well under high heat, so potters left blank spaces during the first firing. Later, they added the red and fired it again at a lower temperature.

Gilded pieces, which had gold details, needed another round in the kiln. These were high-end items. In the early 1700s, around 1720, a man named Zacharias Dextra introduced overglaze colors. These let potters add brighter, more detailed designs on top of the finished glaze. Around this time, Chinese famille rose patterns were also being copied in Delft.

Some of the rarest and most eye-catching Delft pottery includes the Delft dorée, which has heavy gold decoration, and the Delft noir, which features a black background inspired by Chinese lacquerware. These darker pieces often had colorful patterns painted over the black. Many of these works are linked to the artist Adriaen Pijnacker, though some attributions are still debated.

Dutch ceramics from Delft combined local craftsmanship with global influence. They mirrored the trade, art, and culture of their time. Today, they remain a clear example of how tradition and innovation shaped one of Europe's most recognizable ceramic styles.

Dutch Pottery from the 16th Century to the 18th Century

Dutch ceramics, mostly made from tin-glazed earthenware and a smaller amount of porcelain, began in the late 1500s. The first pieces followed the look of Italian majolica. These early wares, fired at high heat and decorated in bold colors, are now called Netherlands majolica.

In the early 1600s, Dutch traders started bringing back captured loads of Chinese blue-and-white porcelain from the Ming dynasty. These were known as carrack porcelain, or "kraakporselein." The exotic style became so popular that Dutch potters began copying it. This led to the rise of what we now call Delftware, named after the city of Delft, where production took off in the mid-17th century.

At that time, the brewing business in Delft was fading. Potters moved into the old brewery buildings, often keeping names like The Golden Flowerpot or The Three Bells. Much of their work mimicked the blue-painted Chinese porcelain. They even added a clear lead glaze called kwaart to give it a glassy finish and make the copies look more like the originals. Dutch scenes, like seascapes and landscapes, did appear on some larger tile panels, but these were less common than the Chinese-style designs.

Soon, potters began experimenting with more colorful styles. They made polychrome wares that looked like Chinese famille verte. They also created pieces with black backgrounds inspired by famille noire. Imitations of Imari-style porcelain from Arita, Japan, started appearing as well. Kakiemon-style wares also existed, but were rare.

Around 1720, Dutch potters started using enamel colors. This opened the door to more detailed and varied surface decoration. Some pieces copied Chinese famille rose designs. These could have come from the main factories or from smaller decorating studios. These studios also painted over plain white porcelain imported from China and Japan. As styles evolved, some enamel work moved toward Rococo themes, often inspired by Meissen porcelain from Germany. The most elaborate pieces from this period were covered in gold details and are now known as Delft dorée.

Pottery figures were not common. When they were made, they tended to be simple. Small sculptures of birds, animals, shoes, parrots, and violins were popular novelty items. These pieces are often reproduced today. Red clay teapots in the style of Chinese Yixing (I-hsing) wine pots were also made. Ari de Milde was one of the best-known potters working in that style.

A big change happened in the second half of the 1700s. Potters in the Netherlands began importing practical kitchenware from Germany. This line, known as Frankfurt pottery, had flat bases and wide loop handles, making them great for cooking and baking. The strong clay didn’t let grease seep through, which made it ideal for daily use. The Gouda potters quickly saw the potential and started copying the German forms on a large scale. That change helped save their industry.

As Gouda potters began producing this fireproof cookware, they moved away from pipe-making, which had started to decline by the late 1700s. The German designs blended so well into local production that by 1870, the influence was no longer recognized. People referred to it simply as Gouda pottery again, even though the forms had German roots. This practical line helped keep Dutch ceramics going strong into the next era.

The Decoration and Style of Gouda Pottery

Gouda pottery has always reflected its time and place. The design style transformed over the years, but some key features stayed consistent. Most patterns started with floral inspiration. These ranged from detailed flower scenes to more abstract shapes based on floral forms. The colors were bold, often paired with high-contrast combinations to make the designs stand out. Compared to other Art Nouveau pottery, Gouda designs used stronger, more defined lines.

There are two main types of Gouda plate. The first is glossy earthenware. This version was usually painted in darker tones and finished with a shiny lead glaze. It was first made by Plateelbakkerij Zuid-Holland. Later, matte plateel became more popular. This type had a soft, non-glossy surface. It was developed not just by Plateelbakkerij Zuid-Holland, but also by Plateelfabriek De Distel in Amsterdam. Goedewaagen took over De Distel in 1922 and continued production.

Gouda pottery was made using the faience technique. This process began with the first kiln firing, which produced a piece known as biscuit. After that, decorators added color using underglaze paint. Then the pottery went back into the kiln. The second firing melted the glaze and fused the decoration into the surface permanently.

Several other factories in Gouda followed this same process. Many of these were run by members of the Van der Want family, who had a long history in pipe-making. Their businesses included van der Want and Barras, which operated under the names Hollandia and Regina. P. van der Want produced work under the name Ivora. PJ van der Want ran Zenith. All of them helped shape the range of pottery we now call Gouda.

At the end of the 1700s, a few small porcelain factories also opened. These were located in Weesp (1764 to 1771), Oude Loosdrecht (1771 to 1784), Amstel (1784 to 1810), and The Hague (1776 to 1790). These factories never produced large quantities. Most of their work copied styles from elsewhere and didn’t create much that was new.

In the 1800s, more Dutch factories got into the habit of making reproductions of older styles. Because of that, identifying the real age of a piece can be hard. Many of these later copies were marked with names and logos from earlier, better-known potteries. So while the marks might look authentic, they often aren’t reliable. Collectors need to be careful, especially when looking at Delftware from the 19th century. Many of those marks were added to make the wares seem older or more valuable than they really were.

What Is Delftware?

Delftware, sometimes called Delft Blue or just delft, is the name for Dutch tin-glazed earthenware. Most of it is blue and white, but other colors were used too. It got its name from Delft, a city in the Netherlands, where most of the best pieces were made. Even so, the term now also covers similar types of pottery made elsewhere, including English delftware.

This kind of pottery uses a white glaze made with tin. That white base makes it easier to paint detailed designs. Artists used metal oxides, especially cobalt oxide, to add color. Cobalt holds up under high heat, so it could be fired underneath the glaze. That’s what gives Delftware its bright, lasting blue. These pieces are part of a much larger group known as blue and white pottery. The style came from China in the 1300s and spread through Europe, where it became incredibly popular.

Delftware isn’t just plates. It includes vases, figurines, tiles, and all kinds of decorative pieces. The style began around the year 1600. Its peak period was between 1640 and 1740, but it’s still being made today. Back in the 1600s and 1700s, Delftware was one of the major industries in the Netherlands. Pottery from Delft was shipped all across Europe.

The first tin-glazed pottery in the region started earlier, around 1500, when an Italian potter named Guido da Savino moved to Antwerp. During the 1500s, Italian maiolica influenced how Dutch potters decorated their work. But things changed after 1576, when Spanish troops sacked Antwerp during the Spanish Fury. Many artists and craftsmen left the city and moved north. That’s when painted pottery production picked up in places like Middelburg and Haarlem during the 1570s, and in Amsterdam by the 1580s.

Delft became known for the finer work, while more basic, everyday tin-glazed pottery was made in cities like Gouda, Rotterdam, Dordrecht, Haarlem, and Amsterdam.

The golden age for Dutch tin-glazed pottery ran from 1640 to 1740. Around 1640, Delft potters began marking their work with personal signatures and factory stamps. The Guild of St. Luke, which painters had to join, also included potters. Between 1610 and 1640, the guild admitted ten master potters. But in the short span between 1651 and 1660, that number jumped to twenty. This rapid growth came after a gunpowder explosion in Delft in 1654. The blast destroyed many old breweries. Since brewing was already slowing down, potters moved into the empty buildings. Some kept the brewery names, like The Double Tankard, The Young Moors’ Head, and The Three Bells.

How Dutch Potters Perfected Delftware

Dutch potters improved their ceramic techniques by using marl, a calcium-rich clay. This material made it easier to produce smoother, finer pottery. Most Delftware was made from a mix of three different clays. One came from the Netherlands, one from Tournai, and one from the Rhineland. This blend gave the pottery its strength and workable texture.

Starting around 1615, potters changed how they glazed their work. Instead of using white tin glaze only where they planned to paint, they began covering the entire surface with it. After that, they added a layer of clear glaze on top. This gave the surface more depth and made the cobalt blue look smoother and richer. The end result came closer to the appearance of true porcelain.

In the early 1600s, during the Dutch Golden Age, the Dutch East India Company brought massive shipments of Chinese porcelain to Europe. These finely made imports had detailed, delicate designs and quickly gained attention. At first, only wealthy buyers could afford them. Dutch potters didn’t try to copy Chinese porcelain right away. But after the Wanli Emperor died in 1620, the porcelain trade was disrupted. That’s when local potters saw an opening.

They began trying to produce a more affordable option that looked like porcelain. After a lot of trial and error, they figured out how to make a thinner earthenware body covered in white tin glaze. Even though it was still low-fired clay, the final product looked surprisingly close to porcelain and was much cheaper to make.

From about 1630 to the mid-1700s, Delft potters continued to make pieces that copied Chinese designs. These were sold alongside pieces with European styles. Around 1700, some factories began using enamel paints and gold accents over the tin-glaze. This needed a third round in the kiln, fired at a lower heat.

Later, when Japanese Imari porcelain became popular in the late 1600s and early 1700s, Dutch potters started copying that too. They recreated patterns like the classic flower vase on a terrace, surrounded by panels showing cranes and pine trees. Oriental styles stayed in fashion for a while, but demand dropped once Chinese porcelain shipments returned to Europe.

Delftware wasn’t all high art. Some pieces were simple household items, plain white and undecorated. But many factories produced ornate items as well. One common set was called the kast-stel, which included matching jars. Pictorial plates were also popular. These showed religious stories, Dutch village life, windmills, fishing boats, and scenes from the countryside. Some plates even had song lyrics and music printed on them. People would serve dessert on these plates, and after the food was gone, they’d read the song and start singing.

Delft tilework was another major product. Over two centuries, Dutch potters made an estimated eight hundred million tiles. Many homes in the Netherlands still have original 17th and 18th-century tiles on their walls.

Delftware became a well-known export across Europe. It was even shipped to Asia. Chinese and Japanese potters eventually began making their own porcelain versions of Delftware to sell back to the European market. That shows just how far Dutch ceramic style had spread.

The Decline and Legacy of Delftware

After 1750, many people began to see Delftware as less impressive than it had been. Some experts have said the designs during this later period were flashy but shallow, with little originality or depth. By the end of the 1700s, most Delft potteries had shut down. They couldn’t keep up with the rise of British porcelain and newer white earthenware, which were cheaper and more popular.

Even so, a few Dutch factories survived. The Tichelaar factory in Makkum, founded in 1594, is still active. Another is De Koninklijke Porceleyne Fles, or The Royal Porcelain Bottle, which started in 1653 and also continues to produce ceramics today.

In modern times, the term Delfts Blauw, or Delft Blue, is stamped on the bottom of genuine hand-painted pieces. These are considered collectible and authentic. While the look still draws from the old tin-glazed tradition, most modern Delft Blue pottery is made with underglaze blue on white clay. True tin glaze is rarely used anymore because it’s more expensive. Still, the Tichelaar factory in Makkum continues to make classic tin-glazed pieces in the old way.

Delft Blue has even shown up in pop culture. One of British Airways' ethnic tailfin designs, called Delftblue Daybreak, was based on it. That design was painted on 17 of their aircraft.

Delftware may have lost some of its early glory, but its influence and style are still part of Dutch culture. It continues to attract collectors and artists who value its history and detail.

Royal Delft: The Last Original Delftware Maker

Royal Delft, known officially as Koninklijke Porceleyne Fles, is the only Delftware factory left from the 1600s. It sits in Delft, the same city where it began. Over 360 years later, it's still running, making traditional Dutch earthenware. The name might suggest it deals in porcelain, but it doesn’t. Everything made here is earthenware, not true porcelain.

Back in the 17th century, trade between the Netherlands and Asia was booming. The Dutch East India Company brought in huge shipments of Chinese porcelain. Wealthy Dutch and European buyers were especially drawn to the blue-and-white designs from China. But when the Ming dynasty began to fall after the Wanli Emperor’s death, that trade dropped off. Chinese porcelain stopped coming in. Dutch merchants didn’t want to lose the market, so they started making similar items at home.

One of those early local makers was David Anthonisz van der Pieth. In 1653, he started a factory called De Porceleyne Fles, which means "the Porcelain Bottle." From the start, it produced a mix of everyday goods and decorative pieces. Some were plain white dishes for regular use. Others were more detailed, including plates with religious themes, Dutch countryside scenes, ships, windmills, hunts, landscapes, and marine views. The factory sold to customers across the Netherlands and into Europe.

But by the 1800s, it got harder to compete. European porcelain makers were producing at a much higher level, and one by one, other Delft factories shut down. By 1840, only De Porceleyne Fles was left.

In 1876, Joost Thooft stepped in. He bought the struggling company and set out to bring it back to life. Working with designer Leo Senf, he upgraded the entire process. They aimed to make Delftware that could hold its own against other European brands. Thooft also created a signature mark that appears on every hand-painted Royal Delft piece. That mark is still used today.

When Thooft passed away in 1890, Abel Labouchere took over. He kept the momentum going and brought all the production under one roof in 1916. That move helped streamline the work and improve quality.

In 1919, the Dutch royal family officially recognized the company’s cultural value. They granted it the right to use the word "Koninklijke," meaning "Royal." It was a rare honor and a public sign of respect for its role in keeping Dutch craftsmanship alive. Even now, Royal Delft stays connected with the royal family and remains a core part of Dutch ceramic history.

 

The History of Dutch Tile Making

Glazed tiles have been used for thousands of years. Even in ancient Egypt, Pharaohs used them to keep their walls dry and clean. The technique first came from North Africa, then spread into Europe. It reached Italy, where it was quickly embraced. From there, it moved north, spreading across the continent.

By the late 1500s, large-scale tile production had started in Friesland, in the northern part of the Netherlands. Harlingen became the center of this trade. Fishing boats brought in fresh catch, then took tiles back with them as cargo. These boats sold the tiles all along the western coast of Europe. While Delft became known for pottery, Friesland took the lead in tile production, both in quality and in quantity.

Frisian tiles are still made today using the same method as 500 years ago. Wet clay is shaped and dried for about three weeks. Then it’s fired once, producing what’s called biscuit. Because the tiles dry on wooden racks and are handled by hand, they get a slightly uneven, soft finish. This gives each one a unique texture and color. That’s part of why the classic "Friese witjes" are so prized.

Collectors seek out old Dutch tiles and are often willing to pay high prices for the missing piece in a set. The technique has barely changed over the centuries. Artisans still use the same type of clay, the same glaze, and the same faience painting process as they did in the 1600s.

The main difference today is how the tiles are fired. They now use gas kilns instead of wood-fired ones. This gives more control over the temperature, which helps keep the tin-glaze colors stable and makes the tiles stronger.

Tile making still involves two separate firings. The first creates the raw tile. The second melts the painted decoration into the glaze. Painters still use the traditional majolica technique, brushing designs directly into the wet glaze. Old pattern books, called mallen, are used to study and recreate historical motifs.

Each painter brings their own style and skill. Some are known for ships, others for floral patterns or animals. But all follow the same steps: they paint into the glaze, then fire the tile again. The glaze and paint melt together, forming one hard, durable surface. This finish doesn’t fade or wear away.

These hand-painted tiles keep the old Dutch traditions alive. And because they are still made by hand, one by one, no two are exactly the same.