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The pair shares a single baluster form and a single palette: a cobalt so deep it reads almost navy where the pattern crowds together, laid over white. That darkness is the giveaway of the Royal Sphinx and Boch line — their blue runs deeper and heavier than the Delftware coming out of other Dutch potteries at the time. Decoration covers nearly every inch. Flowering branches climb in narrow vertical panels, a scalloped lambrequin drops from each shoulder, a band of scrollwork rings the neck, and a register of waves runs around the base.
None of it is brushed by hand. The pattern was transfer-printed: engraved onto a plate, picked up on paper, and laid onto the unglazed body before firing — a process that prints far finer and more repetitive detail than a painter could manage, which is exactly why these vases look so uniformly, densely covered. Both bases are clean and bright, and each one carries two printed marks beneath: the Maastricht roundel and the "Made for Royal Sphinx by Boch" stamp, which together date the pair to the 1969–1979 production run. The persimmon silk shades are a chosen contrast — a deep orange against the cool blue.
About Boch for Royal Sphinx
The Belgian firm Boch Frères Keramis began at La Louvière in 1841 and rose to become one of Belgium's leading potteries. When the old Royal Sphinx works at Maastricht — a descendant of the Petrus Regout firm — folded, Boch took it over in 1969 and ran its blue-and-white line for another ten years under the "Made for Royal Sphinx by Boch" mark. Those final years produced a Delftware noticeably deeper in tone than the Dutch norm, and collectors now treat the 1969–79 output as a chapter of its own within both companies' long records.