Jan Van der Hoeve (1649) A member of the family that made itself a name by adopting as its coat-of-arms three fiddles, as a model for their work ; but of this member we have very little to show beyond his initials V H on some unimportant articles.
Claes Messchert and Abraham van Noorden (1651) Founders of The Peacock pottery, but we cannot distinguish their work from that of successors at this factory, for the various combinations of its mark PAAUW give no clue to the maker.
Quiring Aldersz Kleynoven (1655) A stranger associated with some of the best masters ; but although he registered his mark, forming a monogram of his three initials, nothing is known of his work.
Jeronimus van Kessel (1655) A few coloured specimens signed J V K are attributed to him.
A. J. De Milde (1658)
Frederick van Frytom (1658) His work stands out from any other worker at Delft in that he did not copy the Oriental or take his ideas from the designs of other arts. His work is pure landscape painting, enlivened with figures, such as the large plaque at the Netherlands Museum at the Hague, signed with his name in full in the corner. He also painted plates of the most charming description with figures, such as the one at the British Museum.
Jan van der Houk (1659) He began at the sign of The Porcelain Bottle. Specimens of his work, signed with his initials, are casseroles and dishes of very brilliant colouring in the form of birds, ducks, fowls, etc.
Jan Groenlant (1660) He is supposed to have made little busts and statuettes in coloured ware.
Joris Mes (1661) We find him working at the sign of The Stag. The mark of this factory occurs rather frequently on blue ware of small articles of interesting quality.
Jan van Hammen (1661) His work is both in blue and coloured, signed with his initials I H and the numbers.
Jacob Wemmers Hoppestein (1661) At the sign of The Old Moor’s Head. He seems to have carried out at this factory the excellent work begun by his predecessor Abraham de Kooge, and the produce of this factory had a high reputation. It consisted generally of blue decorative centers representing episodes from Roman history, surrounded by coloured borders. Examples of this kind may be seen at South Kensington and at the British Museum. His monogram consisted of an I through a W, or the two letters placed together.
Jan Jansz Kulick (1662) A stranger. Having worked under Aelbrecht de Keizer, he produced, like his master, fine specimens in imitation of Chinese and Japanese ware in blue, red, and gold. M. Havard gives his monogram, but states that he has never come across it on a piece of pottery.
