Royal Delft Collectors’ “Society” Newsletter
Royal Delft Collectors’ “Society”NewsletterIssue 128 March 2004Welcome to this first issue of a newsletter for what we anticipate is the beginning of anexciting new group for collectors of Royal Delft (De Porceleyne Fles). De Porceleyne Fleswas founded on 28 March 1653, so this first issue brings to a close the 350th Anniversary yearof this famous factory and points us towards the future. In recent years some collectors haveinformally met or chatted by email, confirming that we are not alone in our interest withRoyal Delft. There are many hundreds, probably thousands, of collectors worldwide. A“club” can bring together the many people who share this common interest.Editor, Email: tegel@delfthuis.com .A Collectors’ “Club” just forRoyal DelftThe purpose of a collectors’ group especiallyfor Royal Delft (or to use current jargon, our“Mission Statement”) is simply to expand theknowledge and appreciation of Royal Delft.Many other ceramic factories have collectors’groups, including such famous names as RoyalDoulton, Moorcroft, Wedgwood, Belleek,Gouda, Pickard, Nippon, Clarice Cliff, andSusie Cooper. Some groups have over 10,000members. A “club” like this can be anenjoyable way for collectors to be in contactwith each other in whatever way they wish,sharing information and the joys of owningwonderful ceramics made at our favouritefactory. People just beginning to collect are aswelcome as those who have collected for sometime, perhaps amassing a great number ofpieces or a specialized collection of say, justplates, or a certain style. Some collectors evenhave rooms in their houses dedicated to pieceswhich have been either collected over manyyears or handed down from generation togeneration. The general public, and even agreat many of the “antiques experts” knowvery little about delftware, and even less aboutRoyal Delft. A group like this can help “spreadthe word” about the products from RoyalDelft, serving as informal ambassadors for thefactory. Such members are avid supporters ofRoyal Delft as a company, and we activelyencourage this since generating more businessensures that she will survive for a great manyyears to come. The society itself is a non-profitorganization.The Factory’s role2003-2004 has been an especially exciting andbusy Jubilee year for everyone at the RoyalDelft factory, with many special events. Theseincluded a number of exhibitions, danceperformances, a valuation day, publications ofnew books, and the introduction of newproducts. It has also been a year when theworld economy and politics have put extrastress on the factory personnel. Thus a smallgroup of keenly interested collectors has takenon the unpaid work of initially organizing thissociety, allowing for the factory to play amuch greater role in the future. It is too earlyto anticipate how this might manifest itself, butideas include special tours at the factory formembers and perhaps certain discounts orspecial edition pieces offered exclusively tomembers. Tours within Holland to museumsfeaturing Royal Delft, or of buildings with
Royal Delft architecturaleventually be offered.detailsmayYour invitation to joinThis newsletter is also your personal invitationto join our enthusiastic group of collectorsworldwide and to help shape the way thesociety can best meet the needs of the manycollectors. We don’t necessarily envisionanything too formal at this stage, althoughobviously people will be needed to help keepthings running. Increasing numbers of peopleare interested in Royal Delft. This special“club” allows them to keep abreast of goingson at the factory and with other collectors bymeans of a quarterly newsletter (electronic andprinted), and eventually a devoted website.Perhaps this may lead to get-togethers ormeetings on a local/regional basis (Holland,America, Britain, etc.), at an antiques fair orvisiting someone’s collection. The number ofpeople bidding on Porceleyne Fles items onthe internet auctions is increasing, and is agood indication of the huge interest in this veryspecial ceramics. If you would like to be a partof this “club” of Royal Delft collectors youwill find more details at the end of thisnewsletter.Benefits of Society MembershipThe primary benefit of membership in acollectors’ society is obviously interactionwith other members and the sharing ofinformation. For a small annual membershipfee we are offering a quality Newsletter fourtimes a year, packed full with news,information, photos, regular features, andarticles of interest to collectors and dealers.This publication in English will be available inprinted and electronic forms. All sorts of otherthings are possible as the club membershipexpands, and the number of members makes itfeasible. (The fee will help pay for thesociety’s actual expenses involved with anewsletter, and eventually a website.)Club ideasA few ideas for the club have already beensuggested, but if you have further ideas orcomments, please give us your input. Somesuggestions previously made include:1. An annual or bi-annual “convention”.2. Membership card.3. Website and resources.4. Opportunity to purchase special limitededition pieces commissioned from factoryexclusively for members5. A directory of members with contact detailsfor those who wish to keep in touch with eachother (voluntary).The Newsletter will regularly contain:1. Informative feature articles about thevarious styles and techniques the factory hasused.2. Up-to-date news from the factory, includingthe introduction of new products.3. Articles about the many artists who haveworked at the factory.4. Question and Answer section with membersraising questions (and offering answers) aboutpieces and marks, etc.5. A “small adverts” section where memberscan advertise pieces for sale or pieces they areparticularly seeking.6. Directory of dealers who specialize inselling Royal Delft pieces.7. Colour photographs of interesting or rarepieces.Members’ ContributionsDo you have photographs of any special piecesin your collection that you would like to share?Or perhaps you could write an article aboutyour collection and how you started, or aboutyour memorable visit to Delft. Perhaps youhave questions to ask about a piece, or wish toadvertise pieces you would like to sell or arelooking to buy. We warmly welcome andencourage your contributions to thisNewsletter. Please submit them to the editor attegel@delfthuis.com.News from the FactorySome new products have been introduced inthe last 12 months. The limited edition Jubilee350 series was produced in 2003 in specialpolychrome colours, including a spectacular 9piece star-shaped dish/centrepiece. In theautumn of 2003 a new series of tableware wasintroduced consisting of plates, bowls, beakers,and jugs in various sizes. Designed especiallyfor the young urban dwellers, the pieces arestylish and chic. The pieces have simple,contemporary shapes and are decorated with avariety of factory trademarks and painters’signatures from over the centuries.Princess Catharina-Amalia was born 7December 2003 to heir-apparent PrinceWillem-Alexander and Princess Máxima. Thefactory has produced very attractive 18 and29cm birthplates to mark the occasion. Majorevents in the lives of the Dutch Royal family
have been commemorated in plates since 1909.In spring 2004 new products include tiles withnew designs, Christmas ornaments, winecoasters, and desk sets comprising nameplates, letter openers, and paperweights, pricedindividually. These are produced withtraditional, Art Deco, and new stylishpolychrome decorations. For more details seethe factory website at www.royaldelft.comcouples, and about 10 are antiques dealers whospecialize in Royal Delft. This is a brilliantbeginning to our Royal Delft Collectors’Society (best not say “smashing” with all thatDelft about!). If you are in contact with peopleinterested in Royal Delft please pass thisinformation and newsletter on to them,especially if you think there is a chance wemay have overlooked them. Or we will contactthem if you send us their details to the usualtegel@delfthuis.com.How Many Members?This newsletter is being sent to almost 100addresses via email and the post. Over 80 ofthose are Royal Delft collectors, individuals orIt may be risky using a priceless antique Porceleyne Fles dinner service if the wine readily flows! Most of theservice shown here dates from 1881, with a number of the pieces signed by Leon Senf.In MemoriamWe note with great sadness the death of HRHPrincess Juliana early on the morning of 20March 2004, seventy years to the day of thedeath of her grandmother Queen Emma.Juliana served as Queen of the Netherlandsfrom 1948 to 1980 when she abdicated infavour of her daughter, the present QueenBeatrix. In accordance with Dutch custom shethereafter used the title Princess rather thanQueen. She was highly revered and respectedthroughout the Kingdom for her sense of dutyand simple humanity. Her leadership in theyears after the War, and her support for manysocial causes was exemplary. Born 30 April1909, the first regular commemorative plateproduced by Porceleyne Fles marked her birthalmost 95 years ago. We offer our deepestsympathy to Prince Bernhard, HM QueenBeatrix, the Royal Family and all of the Dutchpeople.We would like to dedicate this first edition ofthe Newsletter to the memory of LindaRolobessy (née Struik), who died December2003 after a brief battle with cancer. Lindastarted working as a painter at the factory in1971 and in more recent years was alsoassistant sales manager in the showroom. Herenthusiasm for both antique and modernPorceleyne Fles products was contagious. Herwarm and sincere welcome to all visitors willbe deeply missed.
Research ContinuesPorceleyne Fles PiecesaboutSeven years of research by Rick Erickson wentinto his book Royal Delft: A Guide to DePorceleyne Fles published last September.Considerable work was involved examiningextant inventories, price lists, order books andother factory records, painstakingly relatingdocuments with many thousands of actualPorceleyne Fles pieces. Rick continues hisresearch and could use your help. In particularthere are two things collectors can help himwith:1. Unidentified painters’ marks (most of whichare shown in his book).2. Reproduction of landscapes, genre paintingsand portraits on plates, tiles, tableaux, andappliques. It is thought that over 700 differentpaintings have been reproduced on PorceleyneFles pieces in the last 125 years. Rick iscarefully assembling a database, tracing asmany of these as possible, noting on what kindof pieces, when and by which Royal Delftpainter these were done. Rick can be reachedat tegel@delfthuis.com Rick’s work has beeninvaluable to many collectors, dealers, and ofcourse the factory, and any new informationwill appear in future editions of his book andthe future companion volumes he has planned.Exhibitions in DelftThe municipal Prinsenhof Museum in Delftcontinues its outstanding exhibition through27th June 2004. Delft, and the Prinsenhof arealways worthy of a visit, but this exhibition inconjunction with the 350th anniversary isexceptional. Hundreds of special PorceleyneFles pieces are displayed. The majority comefrom the Prinsenhof collection and theInstituut Collectie Nederland. The pieces arerarely on public display. This is probably aonce-in-a-lifetime opportunity to see these rarepieces.The factory’s own museum also has a noteworthy exhibition for the 350th anniversary,displaying many wonderful pieces from itsown collection and related materials such asphotographs, design sheets, etc. Keen RoyalDelft collectors planning to visit Delft in thenear future would be well advised to do sobefore these exhibitions close.Royal Delft Books For SaleThe 350th Jubilee Year saw the publication ofthree significant books about the factory andher products. Last March the factory launchedVan Plateelbakkerij tot Royal Delft/ FromPottery to Royal Delft (a 64-page paperback inDutch and English side-by-side, with manyphotos). Last September Geschiedenis van eenNationaal Product/ History of a NationalProduct (De Porceleyne Fles), Vol. 3 (248pages, hardbound, largely an exhibitioncatalogue of the Delft Municipal Museums,many photos, Dutch and English editions) andRick Erickson’s Royal Delft: A guide to DePorceleyne Fles (300-pages hardbound, withextensive factory and painters’ marks, about1000 photos). Rick’s book is widely availableat antique fairs, on the internet, and at thefactory. Signed copies are available (emailaddress below). The two publications fromDelft had small print-runs and supplies willsoon be exhausted. Copies are still availablefrom the factory or Rick. He also has for sale afew remaining copies of his inexpensiveDelftware: Four Centuries of Delft Ceramics(2000, 36-page booklet with colour and black& white photos.) He can be reached attegel@delfthuis.com or see the website atwww.delfthuis.com.Over the last 35 years a number of books havebeen published about Porceleyne Fles pieces,almost all of which are now long out of print.The three most important general books areJaap Romijn, History of a Delft Factory (or theDutch version Geschiedenis van een DelftseFabriek) (1970 thin paperback exhibitioncatalogue with black & white photos, English& Dutch editions); Herboren Orient (1984 thinpaperback exhibition catalogue with colourand black & white photos, Dutch); and MarieRose Bogaers and others, De Porceleyne Fles:DewedergeboortevaneenDelftseAardewerkfabriek (1986 paperback exhibitioncatalogue with colour and black & whitephotos, Dutch). These three, along withViolette Steinke’s Original Royal DelftChristmas Plates (1972, loose-leaf in a ringbinder), can sometimes be found second-hand,but are difficult to locate, and usuallyexpensive.More recently Stephen Van Hook’sDiscovering Dutch Delftware (1998 thinpaperback with photos) contains a chapterabout Royal Delft. Though published privatelyit has the advantage of still being readilyavailable, and contains information aboutmany other Delftware manufacturers.
This photo shows an unusual Reflet Métalliquecovered pul, c 1910. Covered with a heavy darkbrown glaze over a light green underglaze, it is21.2cm high, 12.3cm diameter, and marked withFactory Mark 10.Dutch Delftware and the Arts& Crafts Movementby Rick Erickson(Adapted from an article he wrote for theSeptember 2003 issue of Antique &Collector’s Trader.)The popular conception of Delftware is usuallyof 17th or 18th Century tin-glazed chargers,covered pots, and tiles, or modern Dutchtourist souvenirs, decorated in “Delft blue”with windmills and flowers. But DutchDelftware made further contributions to thedevelopment of ceramics, not least of whichincludes the Arts and Crafts Movement at theend of the 19th and beginning of the 20thCenturies.De Porceleyne Fles (generally known as“Royal Delft”) was founded in Delft in 1653,and in 2003 is celebrating its 350thAnniversary Jubilee. This one factory hassurvived and flourished, usually by havingboth innovative and contemporary products.Porceleyne Fles outlived the other 31 originalsmall 17th Century potteries in Delft, whichextinguished their kilns in the 18th and early19th Centuries as a direct result of competitionfrom the then new European porcelain andWedgwood creamware.RenaissanceThroughout the first three quarters of the 19thCentury Porceleyne Fles struggled to survive,mainly by producing fire-resistant bricks forcladding steam engines. Then in 1876 a truerenaissance began under the leadership of anew owner, Joost Thooft. Thooft, an engineerby training, and with a strong interest in theapplied arts, was recovering from the sad deathof his wife within four months of theirwedding. The history that unfolded in thefollowing years is as poignant and heartwarming as any heroic tale or legend conjuredup by Victorian writers. Thooft coaxedCornelis Tulk out of retirement, though he wasalready in his seventies. Having been taughtthe old ceramic painting techniques andpatterns in his youth, Tulk was the last livinglink to the old Delftware tradition, and passedhis knowledge on to the next generation ofDelftware painters. The factory also hiredAdolf Le Comte as part-time Artistic Director.Le Comte taught design at the DelftPolytechnic School (now the university), andwas the most influential applied arts designerin Holland during the 19th Century. In additionto designing a vast array of new model forms,Le Comte also created new styles anddecorative patterns during his association withPorceleyne Fles, which spanned more than 40years.Thooft also hired a young Leon Senf as apainter. Senf learned to draw at a local carpetfactory, and soon would become the mostfamous painter at Porceleyne Fles. Followingon from Le Comte, he designed new styles anddecorations. These men were soon joined by ayoung business partner, Abel Labouchere.Interacting together in an exciting and fertileenvironment, they created consistently highquality ceramics, and by the time of Thooft’searly death at age 45 in 1890, Porceleyne Fleswas well known, respected, and desired inHolland and around the world. At first Thooftand Labouchere concentrated on Delftwarewith under-glaze blue decoration, and by 1891they were introducing new art pottery stylesand techniques.Studio Art Pottery, 1891 to 1920sThe Industrial Revolution created sufficientwealth for the middle classes to clutter theirhomes with a plethora of ornaments, and alsofostered a reaction against the mass-producedobjects, precipitating the Arts & CraftsMovement. Simple, handcrafted items weredeemed superior to industrial production. Themovement was based not only upon artistic
ideals, but also philosophical and socialprinciples, as evidenced in the writings ofpeople like William Morris. Eventually Arts &Crafts would spawn new decoration as diverseas Mission Style and Art Nouveau.pots. These were covered with new metallicglazes painted over a Berbas underglaze. Theeffect was a warm coppery-red with streaks orspecks of the underglaze showing through,often green. The glazes were the work ofGerrit Offermans and were unusual in Hollandat that time. They certainly are the equal ofsimilar contemporary ceramics produced inBritain. Both styles remained in productionuntil about 1914.The Jacoba style was introduced in 1897,probably remaining in production until theFirst World War. Jacoba was designed by LeComte, and included plates, plaques in varioussizes and shapes, and a variety of highlystylized vases, often with quirky handles.Local clays were used for Jacoba, withabstract, figurative or floral designs incisedinto the air-dried object with a small pointedstick. Parts of the design were picked out incoloured, usually dark metallic glazes, beforefiring, resulting in a heavy, earthy look withsombre shading.Jacoba vase, 14cm high, Factory mark 5a, withgreen and redish-brown glazes.The very end of the 19th and beginning of the20th Centuries were an especially prolific andinteresting period for ceramics in Holland.Many potteries sprang up all over the countryin towns and cities such as Gouda, Utrecht,Purmerend, and the Hague. The celebratedfirm of Rozenburg was established there byformer employees of Porceleyne Fles, whotook trade secrets with them. One of the mostoverlooked areas of Delftware is the art potteryproduced by Porceleyne Fles from the end ofthe century to just after the First World War.Not appreciated by most collectors nor seen onthe television programmes, even the ceramicexperts from the major auction houses knowlittle about these products.In 1891 the Berbas style was introduced assimple, hand-thrown vases with an almostprimitive Arts & Crafts feel. They werecovered with running glazes as the onlydecoration, in colours ranging from light anddark blue, purple, turquoise, light and darkgreen through to beige, rose, red, brown andgrey. In 1892 similar model shapes were usedfor Reflet Métallique vases, jugs and coveredHomage to the pastPorceleyne Fles also briefly used the oldtechnique of tin-glazing, generally producingpieces between 1898 and 1900. Some of thepieces replicated traditional 17th and 18thCentury Delftware forms and decoration, andwould later be made with the usual modernunderglaze blue decorations. Other tin-glazedpieces were decorated with designs by LeonSenf, L.E.F. Bodart, or the well known artistTh. van Hoytema. Le Comte designed adistinctive new range of Jugendstil (literally“young style”) models with multi-coloured tinglaze decoration, stylistically more similar toGerman Jugendstil than French Art Nouveau.Most of these Le Comte models would also bemade with underglaze blue decoration, untiljust after the First World War.Le Comte also designed a range of PorseleinBiscuit models with a Secessionist style ofdecoration, almost anticipating Art Deco withstrong geometric lines and stylized foliage.The incised lines were infilled with real gold,and part of the design was picked out incoloured slip. Production was short-lived from1900-1905, and consisted mainly of unusuallyshaped vases.
the high retail prices both then and now.Porceleyne Fles Lustre equals the finest ofPilkington’s Lancastrian ceramics, and wasmade from 1910 to the 1920s.Lustre vase, 12.4cm high, 12.6cm diameter, Factorymark 6. Decorated in blue, yellow, and gold, withgold lustre, depicting an Assyrian lion. Signed byLeon Senf.Porselein-Biscuit vase decorated with green slip andthe etched lines in-filled with gold.In 1910 and 1911 Porceleyne Fles introducedvarious new styles called Nieuw Delfts, alldesigned by Leon Senf. The techniques anddecoration used had no historical connection totraditional Delftware, but were inspired by 12thand 13th Century Persian and Islamic ceramics,generally using bold blue and turquoisecolours, but also yellow and red. Decorationwas typically birds, animals, flowers and otherfauna, and vases, bowls, covered pots andplates in various sizes were available until thebeginning of the Second World War. Thoughproduced a little later than the work of WilliamDe Morgan, the Porceleyne Fles productsarguably are as fine, or better than DeMorgan’s.Lustre pieces utilized the same model forms asNieuw Delfts, and often reflected Iznikdecoration in the various coloured underglazes.The iridescent sheen was produced byintroducing reduction gases into the kilnduring the final stages of firing, thus leaving athin film of real gold on the surface.Porceleyne Fles Lustre pieces were painted bythe factory’s top artists such as Senf. Theextremely expensive production costs, andfrequent failures in the kilns, were reflected inThere is now intense interest in thearchitecture, furniture, ceramics, and otherapplied arts of the Arts & Crafts period. Pricesof Porceleyne Fles ceramics, especially fromthis period, have risen a good deal in recentyears, and undoubtedly will continue toescalate. Interested collectors and dealers canview fine examples at Porceleyne Fles’s ownmuseum at the factory in Delft, the StedelijkMuseum Het Prinsenhof (municipal museumin Delft), and the Boijmans Van BeuningenMuseum in Rotterdam, or visit websites atwww.delfthuis.com and www.royaldelft.com.Text and photographs Rick EricksonDid You Know?Royal Delft was involved in making themassive fountain in the Public Garden at thenew Walt Disney Concert Hall in Los Angeles,as a tribute to Lillian Disney, who contributed 139 Million for the construction of the hall.Mrs. Disney loved gardens, roses, andDelftware, so the fountain is in the shape of anopen rose, decorated with a mosaic of DelftBlue. This stunning sculpture used 8000 tilesand 200 vases supplied by Royal Delft.
Royal Delft Collectors' SocietyMembership FormName:Mailing Address:E-Mail:Annual Membership Fees (pro-rata for 2004):US dollars 12.00; 10.00; or 7.50 per individualPlease contact us for further details at tegel@delfthuis.comor51 New Haw Road, Addlestone, Surrey, KT15 2BZ, England
Royal Delft The purpose of a collectors’ group especially for Royal Delft (or to use current jargon, our “Mission Statement”) is simply to expand the knowledge and appreciation of Royal Delft. Many other ceramic factories have collectors’ groups, including such famous names as
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c 2017 by Delft Institute of Applied Mathematics, Delft, The Netherlands. No part of the Journal may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission from Delft
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