To this period belong famous potters, such as P. J. Van Kessel of “The Metal Pot”; Abram de Kooge of “The Old Moor’s Head,” who decorated landscapes in blue camaïeu; and Albrecht de Keizer, with his two sons-in-law, Jacob and Adrian Pynaker, of “The Three Porcelain Bottles,” who were the first to imitate oriental porcelain. Other potters of note at this time were the Eenhorns, father and two sons, the Kleftyns, and the five Kams.
Fig. 99.—Cruche.
By the middle of the 18th century, owing to the competition of English pottery, the Delft industry was already on the wane. In 1780 the factories were reduced to one half their former number, and by 1808 only seven existed. All these gradually succumbed, and now only one factory, “The Old Porcelain Bottle,” remains.
Fig. 100.—Teapot.
The forms of the Delft ware are very varied; among other curious efforts the potters produced musical instruments. There are four fayence violins extant, all painted in blue camaïeu, with figures in Dutch costume of the 17th century, dancing and singing, musicians and kermess scenes, in the manner of Gerard Lairesse, with cupids and Renaissance ornaments as borders.
The decorated pieces of Ter Himpelen, although rarely signed, are much prized; he painted fairs and marine subjects on square plaques, about the year 1650. So also are those of Piet Viseer, a celebrated colourist, who flourished about 1750; and of Van Domelaar, who painted Chinese landscapes, &c., about 1580.
Fig. 101.—Vase.