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Not Quite Past.

Models

For each historic style, offer a range of different models, each based on a set of specific historic examples. A “model” just means a way of interpreting the same prompt.

Cobalt web corner motif

From the 1640s, Dutch tile-painters simplified their borders to a single flourish in each corner—a few mirrored curls and a dot resembling a spider's web, hence spin ('web' or 'spider' motif). This leaves the field mostly blank for a crisp, minimalist look. The most common Delftware corner motif and our flagship style. The model captures this minimalism, including tiny chips that nod to well-loved originals.

A historical example of the From the 1640s, Dutch tile-painters simplified their borders to a single flourish in each corner—a few mirrored curls and a dot resembling a spider's web, hence spin ('web' or 'spider' motif). This leaves the field mostly blank for a crisp, minimalist look. The most common Delftware corner motif and our flagship style. The model captures this minimalism, including tiny chips that nod to well-loved originals. style
From history...
An example of one of ours in the From the 1640s, Dutch tile-painters simplified their borders to a single flourish in each corner—a few mirrored curls and a dot resembling a spider's web, hence spin ('web' or 'spider' motif). This leaves the field mostly blank for a crisp, minimalist look. The most common Delftware corner motif and our flagship style. The model captures this minimalism, including tiny chips that nod to well-loved originals. style
... and ours.
Snail Surfboard Owl Skateboard Formula One Car Doughnut Computer Monitor Truck Football Roulette Wheel Route 66 Nutcracker

Manganese web corner motif

Alongside classic blue and white, the Dutch used manganese to create richly purple tiles from the late 17th century. These tiles showcase intricate designs blending Dutch traditions with foreign influences.

A historical example of the Alongside classic blue and white, the Dutch used manganese to create richly purple tiles from the late 17th century. These tiles showcase intricate designs blending Dutch traditions with foreign influences. style
From history...
An example of one of ours in the Alongside classic blue and white, the Dutch used manganese to create richly purple tiles from the late 17th century. These tiles showcase intricate designs blending Dutch traditions with foreign influences. style
... and ours.
Guinea Pig Wasp Rhodesian Ridgeback Palm Tree Steam Train Cocktail Muse Crocus Turtle Desert Island with a Hut King Kong on the Empire State Building Beagle

Web corner motif roundel

The classic roundel framing combined with delicate web corner motifs balanced structure with movement. The circular frame creates a porthole-like window into the scene, while the web corners add energy to empty spaces. This pairing was particularly popular for landscape scenes and architectural studies.

A historical example of the The classic roundel framing combined with delicate web corner motifs balanced structure with movement. The circular frame creates a porthole-like window into the scene, while the web corners add energy to empty spaces. This pairing was particularly popular for landscape scenes and architectural studies. style
From history...
An example of one of ours in the The classic roundel framing combined with delicate web corner motifs balanced structure with movement. The circular frame creates a porthole-like window into the scene, while the web corners add energy to empty spaces. This pairing was particularly popular for landscape scenes and architectural studies. style
... and ours.
Pristine Blank with Corner Motifs Rustic Landscape Fox Pig Bird English Bulldog Tortoise Eiffel Tower Bicycle Lizard Clover Dog

Motifless

By the 1660s a new Delft look appeared: tiles with no corner motifs at all, just a lone emblem floating on a wide field of milky tin-glaze. Dropping decorative corners reduced pigment costs and painting time, the culmination of a shift from busy polychrome maiolica to spare blue-and-white. Gorgeously minimalist. This model generates tiles with ultra-small emblems that give maximum breathing room to whitespace.

A historical example of the By the 1660s a new Delft look appeared: tiles with no corner motifs at all, just a lone emblem floating on a wide field of milky tin-glaze. Dropping decorative corners reduced pigment costs and painting time, the culmination of a shift from busy polychrome maiolica to spare blue-and-white. Gorgeously minimalist. This model generates tiles with ultra-small emblems that give maximum breathing room to whitespace. style
From history...
An example of one of ours in the By the 1660s a new Delft look appeared: tiles with no corner motifs at all, just a lone emblem floating on a wide field of milky tin-glaze. Dropping decorative corners reduced pigment costs and painting time, the culmination of a shift from busy polychrome maiolica to spare blue-and-white. Gorgeously minimalist. This model generates tiles with ultra-small emblems that give maximum breathing room to whitespace. style
... and ours.
Hummingbird Computer Monitor Chicken Sea-horse Telephone Stag Dog Tiger Sliced Lemon Meerkat Otter Mount Rushmore

Garland roundel

Willem Jansz Verstraeten made his Haarlem workshop famous with his signature aigrette motif: a garland of paired, feather-like strokes named after the heron plumes popular in 17th-century hats. Painted in cobalt and enhanced with golden pigment, the light style lets adjoining tiles lock into one continuous field.

A historical example of the Willem Jansz Verstraeten made his Haarlem workshop famous with his signature aigrette motif: a garland of paired, feather-like strokes named after the heron plumes popular in 17th-century hats. Painted in cobalt and enhanced with golden pigment, the light style lets adjoining tiles lock into one continuous field. style
From history...
An example of one of ours in the Willem Jansz Verstraeten made his Haarlem workshop famous with his signature aigrette motif: a garland of paired, feather-like strokes named after the heron plumes popular in 17th-century hats. Painted in cobalt and enhanced with golden pigment, the light style lets adjoining tiles lock into one continuous field. style
... and ours.

Balusters with fleur de lys

The balustertegel was fashionable from 1620 to 1640. Each tile is framed by two elegantly curved Mannerist balusters (or half candlesticks—hence kandelabertegel) and anchored by four fleur-de-lys in the corners. Particularly popular in Rotterdam. Quite promptable with a heavy, dark blue look.

A historical example of the The balustertegel was fashionable from 1620 to 1640. Each tile is framed by two elegantly curved Mannerist balusters (or half candlesticks—hence kandelabertegel) and anchored by four fleur-de-lys in the corners. Particularly popular in Rotterdam. Quite promptable with a heavy, dark blue look. style
From history...
An example of one of ours in the The balustertegel was fashionable from 1620 to 1640. Each tile is framed by two elegantly curved Mannerist balusters (or half candlesticks—hence kandelabertegel) and anchored by four fleur-de-lys in the corners. Particularly popular in Rotterdam. Quite promptable with a heavy, dark blue look. style
... and ours.

Baroque cartouche

Delft tiles reflected their times. This style, like our Greek A style, was inspired by Daniel Marot's engravings. Each scene is framed in an oval cartouche with a playful, classical style in classic Delft blue and white.

A historical example of the Delft tiles reflected their times. This style, like our Greek A style, was inspired by Daniel Marot's engravings. Each scene is framed in an oval cartouche with a playful, classical style in classic Delft blue and white. style
From history...
An example of one of ours in the Delft tiles reflected their times. This style, like our Greek A style, was inspired by Daniel Marot's engravings. Each scene is framed in an oval cartouche with a playful, classical style in classic Delft blue and white. style
... and ours.

Chinese corner motif

Imported Ming 'kraak' porcelain sparked a craze for the Chinese-meander border in early 17th-century Dutch tiles: a continuous key-fret ribbon on all four sides. Almost always painted in deep cobalt, the meander frames a neat round medallion so the centre scene pops against the busy border. The model echoes that tight geometry and deep blue.

A historical example of the Imported Ming 'kraak' porcelain sparked a craze for the Chinese-meander border in early 17th-century Dutch tiles: a continuous key-fret ribbon on all four sides. Almost always painted in deep cobalt, the meander frames a neat round medallion so the centre scene pops against the busy border. The model echoes that tight geometry and deep blue. style
From history...
An example of one of ours in the Imported Ming 'kraak' porcelain sparked a craze for the Chinese-meander border in early 17th-century Dutch tiles: a continuous key-fret ribbon on all four sides. Almost always painted in deep cobalt, the meander frames a neat round medallion so the centre scene pops against the busy border. The model echoes that tight geometry and deep blue. style
... and ours.

Early delft

Early Delftware (late 1500s-early 1600s) bridged Italian-Spanish Majolica and classic blue-and-white Delftware. Characterized by bright colors, ornate patterns, and central emblems in thick frames, it began when Italian potter Guido da Savino established the first majolica workshop in Antwerp around 1500. Large corner motifs create a strong carpet effect when tiles are arranged together.

A historical example of the Early Delftware (late 1500s-early 1600s) bridged Italian-Spanish Majolica and classic blue-and-white Delftware. Characterized by bright colors, ornate patterns, and central emblems in thick frames, it began when Italian potter Guido da Savino established the first majolica workshop in Antwerp around 1500. Large corner motifs create a strong carpet effect when tiles are arranged together. style
From history...
An example of one of ours in the Early Delftware (late 1500s-early 1600s) bridged Italian-Spanish Majolica and classic blue-and-white Delftware. Characterized by bright colors, ornate patterns, and central emblems in thick frames, it began when Italian potter Guido da Savino established the first majolica workshop in Antwerp around 1500. Large corner motifs create a strong carpet effect when tiles are arranged together. style
... and ours.

Fleur de lys corner motifs

This stylized lily flower is most associated with French kings and the ancien régime. However, it was a very popular corner motif on Delftware tiles throughout the period, even during geopolitical confrontations between France and the Low Countries.

A historical example of the This stylized lily flower is most associated with French kings and the ancien régime. However, it was a very popular corner motif on Delftware tiles throughout the period, even during geopolitical confrontations between France and the Low Countries. style
From history...
An example of one of ours in the This stylized lily flower is most associated with French kings and the ancien régime. However, it was a very popular corner motif on Delftware tiles throughout the period, even during geopolitical confrontations between France and the Low Countries. style
... and ours.

De grieksche a factory (c. 1700)

The Greek A (De Grieksche A) factory operated in Delft from 1658 to 1811. This style honors their busy, classicising designs from around 1700 under Adrianus Kocx, influenced by French engraver Daniel Marot's Baroque touch. Collected abroad, including at Hampton Court under William and Mary.

A historical example of the The Greek A (De Grieksche A) factory operated in Delft from 1658 to 1811. This style honors their busy, classicising designs from around 1700 under Adrianus Kocx, influenced by French engraver Daniel Marot's Baroque touch. Collected abroad, including at Hampton Court under William and Mary. style
From history.

Ox-head corner motifs

Adopted from the 1620s, the ox-head (ossenkop) corner quickly became Delftware's all-purpose frame. Painted mostly in cobalt blue, the motif freed painters to focus on lively centres while giving walls a neat visual grid. The model captures that brisk, working-kiln look with a loose, rough style.

A historical example of the Adopted from the 1620s, the ox-head (ossenkop) corner quickly became Delftware's all-purpose frame. Painted mostly in cobalt blue, the motif freed painters to focus on lively centres while giving walls a neat visual grid. The model captures that brisk, working-kiln look with a loose, rough style. style
From history.
Blank with Corner Motifs Pristine Blank with Corner Motifs Blank with Corner Motifs Blank with Corner Motifs Blank with Corner Motifs Pristine Blank with Corner Motifs Pristine Blank with Corner Motifs Pristine Blank with Corner Motifs Pristine Blank with Corner Motifs Blank with Corner Motifs Pristine Blank with Corner Motifs Blank with Corner Motifs

Polychromatic with octagonal frame

Delftware tiles were not always blue and white. In the 18th century, polychrome tiles were also popular, with a variety of colors and designs. This style is inspired by the polychrome tiles of the period, with a rainbow of ornamental borders with an octagonal frame.

Roundel with ox head corner motifs

Similar to our other two roundel styles, this style features ox-head (ossenkop) corner motifs.

A historical example of the Similar to our other two roundel styles, this style features ox-head (ossenkop) corner motifs. style
From history...
An example of one of ours in the Similar to our other two roundel styles, this style features ox-head (ossenkop) corner motifs. style
... and ours.

Spare with web corner motifs

This style is similar to our flagship web style, but with a much looser look. This was the first model we released, and it remains popular with some customers, though it can often have a more digital look.

A historical example of the This style is similar to our flagship web style, but with a much looser look. This was the first model we released, and it remains popular with some customers, though it can often have a more digital look. style
From history...
An example of one of ours in the This style is similar to our flagship web style, but with a much looser look. This was the first model we released, and it remains popular with some customers, though it can often have a more digital look. style
... and ours.

Spijkertegel (polychromatic bird on nail)

When Delft tiles weren't just one or two colours, they could really stand out! This pattern is an allusion to so-called nail tiles which showed tropical birds in full colour, perched on a nail. These tiles were particularly popular in the 18th century.

A historical example of the When Delft tiles weren't just one or two colours, they could really stand out! This pattern is an allusion to so-called nail tiles which showed tropical birds in full colour, perched on a nail. These tiles were particularly popular in the 18th century. style
From history...
An example of one of ours in the When Delft tiles weren't just one or two colours, they could really stand out! This pattern is an allusion to so-called nail tiles which showed tropical birds in full colour, perched on a nail. These tiles were particularly popular in the 18th century. style
... and ours.

Vine leaf corner motifs

Similar stylistically to our fleur-de-lys style, this is a minimal and traditional style, with a vine leaf (called wingerdblad in Dutch) in each corner.

A historical example of the Similar stylistically to our fleur-de-lys style, this is a minimal and traditional style, with a vine leaf (called wingerdblad in Dutch) in each corner. style
From history...
An example of one of ours in the Similar stylistically to our fleur-de-lys style, this is a minimal and traditional style, with a vine leaf (called wingerdblad in Dutch) in each corner. style
... and ours.