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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.