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Delftware or Delft pottery, also known as Delft Blue [1] (Dutch: Delfts blauw) or as delf, [2] is a general term now used for Dutch 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 colours, and made ...
Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Competition from the European porcelain industry, however, was fierce and by 1840, De Porceleyne Fles was the last factory remaining, all other competitors having ceased ...
The biggest competitor of Regina in the field of decorative and colored pottery was the Plateelbakkerij Zuid-Holland (PZH). [2] In the beginning, Regina produced the shiny plateel pottery, but it soon became clear that the general public preferred the new matt veneered plate. PZH was, for the time being, an unmatched competitor in this field.
Gouda pottery gained worldwide prominence in the early 20th century and remains highly desirable to collectors today. [1] Gouda pottery is diverse and visually distinctive in appearance, typically illustrated with colourful and highly decorated Art Nouveau or Art Deco designs.
In Delft, Netherlands blue and white ceramics taking their designs from Chinese export porcelains made for the Dutch market were made in large numbers throughout the 17th Century. Blue and white Delftware was itself extensively copied by factories in other European countries, including England, where it is known as English Delftware .
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This is a list of Dutch ceramists who were born and/or were primarily active in the Netherlands. This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources .
It was also an influence on Dutch Delft pottery and Chinese export porcelain. [8] Exports to Europe of Japanese Kakiemon porcelain, and all other types, stopped in the mid-18th century when China resumed export to Europe. Since both Kakiemon and Imari styles were already so popular among Europeans, Chinese export porcelain copied both styles. [9]
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