Delftware flower pots or jardinieres, c.1690
Short video with Robert D. Aronson, director of Aronson Antiquairs in Amsterdam (www.aronson.com), explaining Dutch Delftware (by www.studiostoop.nl)
Short video with Robert D. Aronson, director of Aronson Antiquairs in Amsterdam (www.aronson.com), explaining Dutch Delftware (by www.studiostoop.nl)
Announcing our virtual exhibiton 'A Delftware Banquet,' online at www.aronson.com.
Robert D. Aronson discussing a pair of wonderful polychrome Dutch Delftware dishes, made in Delft around 1770. One of the highlights for TEFAF Maastricht 2015. Video by www.studiostoop.nl, more info see www.aronson.com.
Since the study of botany and natural sciences was a growing interest in the Netherlands during the seventeenth and eighteenth centuries, it is no surprise that Delft painters often chose this beloved decoration for their objects. The Delftware floral plates reflect this national passion for flowers and nature. Flower vases, or so-called flower pots, have a long pictorial tradition in the Netherlands. During Holland’s Golden Age, still life paintings of flowers and fruit ‘blossomed.’ The most famous Dutch floral still life painters include Jan Brueghel the Elder, Roelant Savery and many more. Engravers turned the lush bouquets of these renowned artists into prints, which were then available to other artists and artisans to be reproduced in other mediums. Plaques with this kind of rocaille self-frame are not uncommon in Delftware and must have been popular in the rococo era.
Delftware or Delft pottery, also known as Delft Blue[1] (Dutch: Delfts blauw), is a general term now used forc tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other c, and made elsewhere. It is also used for similar pottery that it influenced made in England, but this should be called English delftware to avoid confusion.
Delftware is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. It also forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th century Chinese porcelain, and in great demand in Europe.
Delftware includes pottery objects of all descriptions such as plates, vases and other ornamental forms and tiles. The start of the style was around 1600, and the most highly-regarded period of production is about 1640–1740, but Delftware continues to be produced. In the 17th and 18th centuries Delftware was a major industry, exporting all over Europe.#delfttiles #dutchtiles #antiquetiles #delftblue #delftware #reclaimed #dutchdesign #interiordesigner #interiors #18thcentury #collectibles #collectables #earthenware #shepherd #sunday #cold #treetravel,
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Black Delftware is surely the rarest and most elusive group of ceramics produced in the Dutch city of Delft in the early 18th century. Only about 70 objects with a black glaze or black decoration are known in the world and specialist Robert Aronson shares a short idea about these earthenware objects.
Robert D. Aronson discussing a blue and white bowl and cover flower vase, made in Adrianus Kocx, owner of The Greek A factory in Delft around 1695. One of the highlights for TEFAF Maastricht 2015. Video by www.studiostoop.nl, more info see www.aronson.com.
A sneak peak at the exhibition 'Royal Blue,' the best Delftware objects from the time of William & Mary, at the end of the 17th century, from Palace Het Loo and Hampton Court Palace. See the best objects produced at the Delft ceramics factories, specifically 'The Greek A' under Samuel van Eenhoorn and his successor Adrianus Kocx. The exhibition will open with most objects in place on June 1st and will run through November 22nd, 2020. Robert Aronson of Aronson Antiquairs in Amsterdam will give you a short overview of this exhibition at which the most amazing Delft Blue is combined.
Adrianus Kocx, owner of De Grieksche A (The Greek A) factory in Delft had clientele all over Europe. One of his most avid collectors were King William and Queen Mary. William and Mary bought most of their Delftware from Kocx. The quality of the tin-glazed ceramics he produced were phenomenal.
If you're torn between delftware vs. blue willow or you have no idea what the difference is, here's how to identify these vintage ceramics AND why you need them in your home!
This video will answer your questions around "what is delftware?" and what makes deft blue, delft porcelain, blue pottery, blue and white china, blue willow, blue will ceramics, and vintage china so unique. Spoiler alert: it's not all the same!
Delftware comes from the Netherlands, but you can also find influences from China, Italy, France, and more! The same is true about blue willow. Each country has made these designs their own, and that's what makes them so special.
Timestamps:
00:00-00:43 – Intro
00:44-02:05 – What is delftware?
02:06-03:10 – How to style delftware
03:11-04:46 – What is blue willow?
04:47-05:40 – Not all blue and white is the same
05:41-06:10 – Outro
*This week I am pulling out a never released video from our vault! I am sharing a throwback that explains the one color palette that I never design a space without that comes from my love for delftware and blue willow style. This video comes from our VIP client library that I have recently been pulling from to share with you every #FlashbackFriday, but this is such a good topic that I had to make a new blog about it!
If you enjoyed this week's content, be sure to give me a thumbs up and comment to let me know what you'd love to see next. I love helping people create hearts in their homes, so if there's a certain project you're working on, let me know how I can help!
We have plenty more exciting summer projects up our sleeves that we can't wait to share with you!
With love,
Amitha Verma
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Re-edited by: Samantha Lopez
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