Oud Delft

Pottery Oud Delft, Nijmegen, Netherlands – a large Knobbelvaas-type vase, Delft Blue, floral decoration in cobalt, model 046, hand-marked, H-34 cm 2. Basic information * Object type: decorative vase. * Category: artistic ceramics, Dutch Delftware-type faience. * Manufacturer: Potterie Oud Delft, Nijmegen, Netherlands, in accordance with the sign identification. * Country of origin: Netherlands. * Shape type: Knobbelvaas, also known as Double Gourd. * Model number: 046, read from the mark on the bottom. * Dating: circa 1930–1950, based on the attributed manufactory and interpretation of the marking method. * Material: glazed faience ceramics. * Decoration technique: painted decoration in cobalt tones on a light background. * Color scheme: white, blue, and deep cobalt blue. * Style: traditional Dutch Delft Blue, with decoration inspired by historical floral ornamentation. * Height: about 34 cm. * Maximum width: about 20 cm. * Form: open, without lid. * Markings on the bottom: stylized potter’s wheel emblem, letters O-U-D, the word Delft, number 046, additional alphanumeric marks and initials read as M.O. * Marking method: according to the presented interpretation, hand-done markings in cobalt. * Condition: described as very good, collectible. 3. Item description Imposing Dutch decorative vase of Knobbelvaas type, attributed to the Potterie Oud Delft factory in Nijmegen. The object stands out with its characteristic multi-section silhouette, cobalt floral decoration, and the classic blue-and-white combination associated with Delft Blue. The vase is about 34 cm tall and about 20 cm wide at its widest point of the belly. Its elaborate form gives it a striking spatial presence, and the contrasting decoration emphasizes the rounding of the body and the rhythm of the vessel’s sections. The surface is covered with a light glaze, on which a rich ornamental composition with floral and botanical motifs is arranged. The variation of cobalt tones creates depth and helps distinguish individual decorative elements. Special attention should be paid to the bottom of the vase, where there is an extensive set of markings, including a graphic sign attributed to Potterie Oud Delft, the Delft designation, the model number, and additional signs and initials. The handwritten nature of the calligraphy, according to the given interpretation, is an important element of the piece’s identification. The open form gives the vase the character of a standalone decorative object, which can be displayed as part of a Dutch ceramics collection or as an accent in a classical or eclectic interior. 4. Origin of the form – the Knobbelvaas tradition The Knobbelvaas form, also known in international terminology as Double Gourd, belongs to the recognizable historic types of decorative vases. Its silhouette features rounded, bulbous body parts and a waist that gives the vessel a rhythmic, multi-section profile. Inspiration for this type of form appears in European historical ceramics, including Dutch decorative wares developed under the influence of interest in Chinese porcelain imported to Europe since the 17th century. The particular importance lay in combining Oriental stylistic inspirations with local Dutch ceramic traditions. A vase of this silhouette is an example of a form where functional value yields to representational and decorative function. Clearly defined curves of the body create a surface conducive to expansive painting compositions. The presented exemplar represents this tradition in a format with substantial proportions, reaching about 40 cm in height. This allows the decoration to be viewed both up close and from a distance, and the vase itself is a striking interior element. Its formal typology blends a historicized silhouette with decoration characteristic of 20th-century Dutch decorative ceramics. This pairing of traditional form with a later production period is a key feature of the object’s character. 5. Potterie Oud Delft manufactory and the Dutch faience tradition The Netherlands is among the most important European centers of decorative ceramic development inspired by Chinese porcelain. Delft Blue tradition holds a special place, based on a light background with blue and cobalt-painted decoration. The historical development of this ceramic was linked to the popularity of imported Far Eastern porcelain and the growth of local workshops that developed their own ornament language. Floral, landscape, botanical, and ornamental motifs became an essential part of Dutch applied art. Potterie Oud Delft was founded in Nijmegen in 1921, according to historical information provided, and developed the tradition of Dutch decorative ceramics in the 20th century. Its name nods to the old Delftware tradition, and its products merge historicizing forms with interior display decoration. The displayed vase fits this tradition through the Knobbelvaas form, white-cobalt coloration, and an expansive botanical motif. Its markings on the bottom are a vital starting point for identifying the producer and period. Exact dating of a specific piece, the period of applying the model 046 marking, and the detailed production history should be established by comparing the bottom mark with documented examples of the manufactory’s outputs. 6. Manufacturing technique, glaze, and craquelure The vase is made of glazed faience ceramic. The light surface serves as the backdrop for the painting decoration, with cobalt as the dominant pigment. Traditional faience decorating techniques used glazes and pigments whose final appearance depended on the raw material composition and firing conditions. The blue hues can range from pale delicate tones to deep navy. On the surface of this exemplar, there is a regular grid of fine glaze crazing (craçkura) described as krakora. This phenomenon may arise from differences in thermal expansion between glaze and ceramic body. Crackling occurs in older ceramics, but by itself does not provide a definitive dating or authenticity proof. Its character should be considered together with the making technique, surface condition, and bottom markings. According to the description, the glaze retains its gloss, with no broad hazing or surface wear. The surface texture contributes to the visual character of the piece, emphasizing the ceramic nature of the material. For a piece with extensive cobalt decoration, the condition of the painted layer is also important. Its continuity, legibility of contours, and tonal variation affect the perception of the composition. 7. Paint decoration – Delft Blue The most important visual element is the cobalt decoration, based on a stark contrast of a light background with deeper blues and navy tones. The central part of the composition features an extensive floral motif. The decoration includes stylized flowers reminiscent of peonies, asters, and tulips, combined with leaves and botanical ornaments. The composition is completed by curling stems, volutes, and decorative leafy elements that fill the body surface and emphasize its rounded profile. Differing cobalt saturation creates a sense of depth. Darker areas provide visual accents, while lighter shades soften transitions between elements. The combination of floral ornamentation with a classic color palette places the vase within the broad tradition of Dutch decorative ceramics. The layout respects the vase’s rounded body, allowing the decoration to follow the shape of the vessel and highlight its volumetric form. The pairing of botanical motifs with stronger cobalt accents gives a striking yet harmonious overall impression. 8. Form analysis and use The vase has an open form, without a lid. Its silhouette is made up of rounded body sections, a waist, and an upper portion transitioning to an open spout. The absence of a lid is consistent with the described specimen, but the edge shape of the spout alone is not enough to determine the original production specification without comparing to a catalog of patterns. The form can serve a decorative function as a standalone object. Depending on its condition and glaze seal, the vase may also be used for displaying flowers; before using with water, its watertightness should be checked. Height of about 34 cm gives it the character of a prominent interior element. Its elaborate silhouette presents well on a sideboard, console, pedestal, or in a display cabinet for ceramics. The vase can be paired with other Delft Blue tradition items, cobalt-decorated porcelain, and interior décor reflecting classical European decorative forms. 9. Signature and markings on the bottom According to the interpretation provided, the bottom base carries a set of markings attributed to the Potterie Oud Delft manufactory. Their arrangement includes a graphic sign, a text designation, the model number, and additional alphanumeric inscriptions. 9.1. Main graphic sign – stylized potter’s wheel The central element is a symbol interpreted as a stylized potter’s wheel. Above it are the letters O-U-D, and below is the word Delft. This combination is attributed to the Potterie Oud Delft sign and forms the basis for identifying the manufactory. In a catalog description, the sign should be distinguished from an anchor-like representation that might be suggested by a simplified shape or reading of the inscription. Interpretation of the mark as a potter’s wheel is significant for correctly attributing the object. In combination with the Delft name and additional markings, it constitutes a key documentation element. 9.2. Text designation Delft The word Delft refers to the tradition of Dutch ceramics known as Delftware or Delft Blue. For 20th-century wares, this name may indicate a stylistic and decorative tradition rather than a direct indication of the actual place of every production step. In conjunction with the letters O-U-D, the inscription is read as part of the Oud Delft factory designation from Nijmegen. 9.3. Model number 046 At the top of the mark group there is an inscription read as 046. In accordance with the provided identification, this number corresponds to the vase model. The number is an important documentary element, as it can enable comparison of the form with other copies of the same pattern. Its exact catalog significance requires confirmation in the manufacturer’s materials. The vase’s form aligns with the Knobbelvaas typology, characterized by a bulgy body and waisted sections. In conjunction with the 046 number, this allows a more precise description in auction documentation. 9.4. Additional markings: 3-6., R: and M.O. On the sides of the main sign appear additional inscriptions read as “3-6.” and “R:”. At the bottom, initials are read as “M.O.”. These markings may be production-related, decorative, or quality-control. Their exact meaning should not be decided without comparing with the manufactory’s documentation and other pieces bearing similar signs. Initials M.O. may correspond to the person involved in decorating the object, but assigning them to a specific decorator requires independent verification. The handwritten nature of the inscriptions, according to the provided interpretation, indicates hand painting rather than a modern mechanical print. This is an important visual feature of the vase’s bottom to be considered in catalog documentation. 9.5. Significance of manual marking Handwritten marks can provide information about the production practices of a particular manufactory. Their arrangement, handwriting, pigment color, and placement can help when comparing objects and estimating the approximate period of creation. In the present vase, the manual cobalt inscription is one of the elements used to propose a dating. It is not by itself evidence of a specific year or authenticity, and should be evaluated together with form, decoration, and other markings. 10. Dating and historical significance of the signature Potterie Oud Delft was founded in Nijmegen in 1921. Therefore, the vase, if the sign identification is correct, could not originate from the World War I period. Proposed range … It is based on the presented interpretation of manual marking and the information that the manufactory later changed the method of applying markings. Manual cobalt markings are an important identifying element. Their presence can help distinguish certain production variants, but the exact timing of the shift to mechanical markings should be confirmed in sources about the manufactory. It should be emphasized that manual marking does not automatically mean that all parts of the vase were produced by hand. The vessel form, glazing, and painted decoration can involve different production stages, and the method used for each should be evaluated separately. In this sense the vase represents postwar Dutch decorative ceramics tradition, combining historicizing form with cobalt decoration and hand-applied set of markings. 11. Condition According to the provided description the vase is in very good condition and presents itself as a collectible object. * Body: declared no cracks and two tiny (in the photo) almost invisible chips. * Spout: declared no chips. * Foot: declared no chips. * Glaze: glossy; the surface shows the described crackura. * Decoration: described as preserved without significant wear or extensive losses. * Markings on the bottom: described as readable, including the graphic sign, model number, and additional inscriptions. This assessment is based on the owner’s description. Before listing the item, it is advisable to recheck under good lighting the spout, foot, glaze surface, and all decorative areas, and ensure there are no repairs, cracks, or losses. Special attention should be given to the glaze near the spout and the base, where minor damages from use or storage are easiest to spot. It is also advisable to photograph the vase bottom in a way that all signs are clearly legible. Good documentation of the markings helps potential buyers better understand the basis for identification and proposed dating. 12. Collectible value The vase combines the recognizable Delft Blue tradition, cobalt floral decoration, and the Knobbelvaas silhouette. Its substantial size, classic color scheme, and elaborate ornament make it a striking element in a collection of Dutch decorative ceramics. Of particular note is the combination of a historicizing form with decoration typical of 20th-century Delft interpretations. The ornamental body, light glaze, and cobalt painting create a composition with a strong, classical character. An additional documentary asset is the set of bottom markings. The model number, graphic sign, and handwritten inscriptions can be helpful for further identification and comparing it with other outputs attributed to this manufactory. The object may interest collectors of Dutch faience, lovers of traditional cobalt decoration, and people seeking large ceramic elements for classical and eclectic interiors. 13. Summary of the offer A large Dutch decorative vase of Knobbelvaas type, attributed to the Potterie Oud Delft manufactory from Nijmegen. Made of glazed faience, decorated with an expansive cobalt-blue floral composition on a light background. The vase is about 34 cm tall and about 20 cm wide at its broadest point. According to the described interpretation, the bottom features the stylized potter’s wheel sign with the letters O-U-D and the Delft inscription, model number 046, and additional markings, including initials read as M.O. The form is open, without a lid. According to the owner’s description, the vase is in very good condition, with glossy glaze, readable cobalt decoration, and no reported serious damage. The object represents the Delft Blue tradition of Dutch decorative ceramics and stands out with a distinctive silhouette, rich decoration, and a classic blue-and-white palette."

Estimate:$1.11

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