Antwerp Plaques with House Names from the Sixteenth Century
In the sixteenth century houses in Antwerp were identified by a name instead of a number, as is the practice today. The name was usually on a plaque placed on the façade. The MAS|collection Vleeshuis possesses five of these maiolica plaques. The name of the house is painted on them together with a suitable illustration. These show Aesop’s fable of the crane and the fox, an elephant, three red roses, ‘Anna te Drieën’ (The Virgin and Child with St. Anne) and a pilgrim. In this study an attempt is made to link the name plaques to the present addresses and to find out how they ended up in the Vleeshuis Museum. The plaque with the seven pansies, which is mentioned only sporadically in early publications and without an illustration, was photographed in black and white in 1969. It is not certain if this plaque still exists and where.
Print and Tile: The Small Hamlet
The author has now found the model, an etching by Anthonie Waterloo, for a fascinating landscape tile which he has seen in three different versions. It was used by tile painters in Rotterdam and Amsterdam. By way of comparison three more Rotterdam landscape tiles are shown, all in an elaborate octagon with Louis XV border and cupids in the corners.
Print and Tile: The Town of Gorinchem
A lithograph by the Gorinchem painter Eltjo Eltjes de Boer (1800-1855) served as the model for two tile pictures, showing a panorama of Gorinchem (pronounced Gorcum), with ships on the Boven Merwede river in the foreground. The picture in purple was made by Ravesteijn Bros. in Utrecht around 1870-1880; the one in blue by the Jan van Hulst firm in Harlingen round 1880-1890. The buildings in the town are clearly recognizable.
Tracking Down De Jager.
A Utrecht Tile Painter Given a Face
Wim van de Loo en Lejo Schenk
Wim van de Loo, an expert on Utrecht earthenware, discovered a tile picture in Gouda consisting of two tiles, which he realized depicted 'Holland' Faience and Tile Works on Vaartse Rijn in Utrecht. The person who sold the picture told him it used to belong to a family called De Jager. When the back was cleaned, an order number and a vignette with an arrow were revealed. The idea occurred to him that this was the mark of the tile painter Jan de Jager (1887-1956), who hitherto had only been known from administrative sources. Wim van de Loo asked to be put in touch with the original owner, who indeed turned out to be a descendant of Jan de Jager’s. The family has also kept photos and other material, which allows the writers of this article to give an anonymous tile painter a face and a history.
Rozenburg Pottery’s Decorative Stoneware Tiles (1904-1914)
A Decade of Art Nouveau Architecture
In 1904 Rozenburg Pottery in The Hague introduced a new type of weatherproof stoneware tile, called ‘gres’. This ceramic product is moisture-resistant, which makes it suitable for use in outer walls with no risk of its being damaged by frost. This quality offered opportunities of applying colourful tile decorations to the exteriors of buildings. In recent years The Foundation for the Preservation of Dutch Art Nouveau Architecture has compiled an inventory of approximately 1,750 Art Nouveau buildings. This article provides a complete, chronological survey of all the buildings in the inventory that still boast stoneware tiles from 1904-1908 in their façades. They are found all over the country, for instance in The Hague, Groningen and Roermond.
Maarten and Mark van Veen: a Father and Son Tile Story
Maarten van Veen (1939) collects tiles and has been an editor of this yearbook Tegel since 1990. His son Mark (1967), who from a young age accompanied him on many collecting trips, began collecting himself and became a professional dealer. Lejo Schenk interviews father and son as an example of a passion being passed on from an older to a younger generation.
Maarten tells him how, following in the footsteps of an elder brother, he started collecting, and how he became more and more discriminating. His interest now focuses on tiles in aesthetic combination with other ceramic forms from different periods and cultures. His son Mark, who has a wide basic interest, specializes in tiles from the Art Nouveau and Art Deco periods. They talk about work, networking and their various opinions in this interview, which also shows how the interaction between father and son lends colour to their lives.