Frederik Van Frytom :
The Dutch artist Frederik Van Frytom (1632 – 1702) was an important painter of Delft pottery, his style of painting fits very well within the 17th century Dutch landscape tradition, it includes typically Dutch scenes, rustic landscapes with small bridges, pollarded willow and cows scattered about small fields. His ceramic painting technique was individual, more akin to painting than merely filling in a design on a ceramic body. Van Frytom`s connection with oriental ceramics stems from a series of small blue and white Delftware dishes painted by him that were made for the Tea-Ceremony in Japan, the bases of which were marked MB and dated 1684 (See Frederik Van Frytom 1632 – 1702, Life And Work Of A Dutch Pottery-Decorator, A.Vecht, Scheltema and Holkema NV, Amsterdam, 1968). The best known of Van Frytom`s designs is the so-called Deshima Island pattern, now known to be a view of Holland. Porcelain plates of this pattern, as well as related designs, were produced at the Arita Kilns in Japan and then in China at the Jingdezhen kilns, related designs also occurs on Chinese soft-paste porcelain. Plates and dishes of the so-called Deshima Island pattern dating to the Yongzheng period (1723-1735) were sold at Sotheby`s Amsterdam Sale of Chinese Porcelain from the Ca Mau Cargo, “Made in Imperial China”. This Western style was then re-used, probably via Japanese or Chinese interpretations, in England at The Bow Factory using soft-paste porcelain, at least some of these Bow pieces closely relate to Chinese soft-paste porcelain versions of the design. However, the Chinese soft-paste examples are quite late in date, so it might well be possible that they are based on the Bow examples that are copying the Japanese or Chinese versions of the Delft. A complex and somewhat confusing inter-connection of design and trade.
Chinese Soft-Paste Porcelain :
Jorg States “Chinese soft-pate porcelain, which is different from European soft-paste, originated about 1700 and became popular in the second quarter of the 18th century as part of the export assortment. Unlike ordinary porcelain, it is not translucent and often has a creamy-white appearance. The glaze is often finely crackled as a result of a difference in cooling between the glaze and the body. The later is made of a white-firing clay, called huashi, ‘slippery stone’, the use of which is documented in the reports of 1712 and 1722 by the Jesuit Pere d’Entrecolles. As the clay was expensive, soft-paste pieces are usually small and thinly potted. They are also well-painted, as the body is particularly suitable for detailed drawing. Besides this ‘true’ soft-paste, there are pieces with an ordinary porcelain body and a coating of ‘huashi’ clay, which gives the same effect”.