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London Art College Earthenware Designs Transferred Into Clay Glazing Phototransfer Techniques

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Mintons

Concluding updated

English pottery company (1793–2005)

Vase in coloured lead-glazed Victorian majolica, designed by Carrier-Belleuse, 1868. Boat-shaped ornamental vase MET ES3242.jpg
Vase in coloured lead-glazed Victorian majolica, designed past Carrier-Belleuse, 1868.
Mintons Limited
Manufacture Pottery
Founded 1793
Founder Thomas Minton & Joseph Poulson
Defunct 2005
Fate Merged with Regal Doulton Tableware Ltd in 1968
Headquarters

Stoke-upon-Trent

,

England

Key people

 Herbert Minton, Michael Hollins, Colin Minton Campbell, Leon Arnoux
Products Earthenware, stoneware, bone china, Parian, Encaustic tiles, mosaic, Della Robbia ware, Victorian majolica, Palissy ware, "Secessionist" ware

Mintons was a major visitor in Staffordshire pottery, "Europe'due south leading ceramic factory during the Victorian era", [1] an independent business from 1793 to 1968. It was a leader in ceramic blueprint, working in a number of different ceramic bodies, decorative techniques, and "a glorious pot-pourri of styles - Rococo shapes with Oriental motifs, Classical shapes with Medieval designs and Art Nouveau borders were among the many wonderful concoctions". [ii] As well as pottery vessels and sculptures, the firm was a leading manufacturer of tiles and other architectural ceramics, producing work for both the Houses of Parliament and United States Capitol.

  • History
  • 1793 to 1850
  • Mid-Victorian period
  • Tardily Victorian and 20th century
  • Legacy
  • Minton Archive
  • Buildings
  • Notes
  • References
  • Further reading
  • External links

The family connected to control the business concern until the mid-20th century. Mintons had the usual Staffordshire diverseness of visitor and trading names over the years, and the products of all periods are more often than not referred to as either "Minton", as in "Minton mainland china", or "Mintons", the marker used on many. Mintons Ltd was the visitor name from 1879 onwards. [3]

History

1793 to 1850

The firm began in 1793 when Thomas Minton (1765–1836) founded his pottery factory in Stoke-upon-Trent, Staffordshire, England as "Thomas Minton and Sons", producing earthenware. He formed a partnership, Minton & Poulson, c.1796, with Joseph Poulson who fabricated bone mainland china from c.1798 in his new near-by china pottery. When Poulson died in 1808, Minton carried on lonely, using Poulson's pottery for cathay until 1816. He congenital a new people's republic of china pottery in 1824. No very early earthenware is marked, and perchance a skilful deal of information technology was fabricated for other potters. On the other hand, some very early factory records survive in the Minton Archive, which is much more complete than those of most Staffordshire firms, and the early porcelain is marked with design numbers, which tin can be tied to the surviving blueprint-books. [4]

Early Mintons products were mostly standard domestic tableware in bluish transfer-printed or painted earthenware, including the e'er-popular Willow pattern. Minton had trained as an engraver for transfer printing with Thomas Turner. From c 1798 production included bone china from his partner Joseph Poulson's well-nigh-past red china pottery. China production ceased c. 1816 post-obit Joseph Poulson's death in 1808, recommencing in a new pottery in 1824.

Minton was a prime number mover, and the main shareholder in the Hendra Company, formed in 1800 to exploit china clay and other minerals from Cornwall. Named subsequently Hendra Common, St Dennis, Cornwall, the partners included Minton, Poulson, Wedgwood, William Adams, and the owners of New Hall porcelain. The company was profitable for many years, reducing the price of materials to the owning potters, and selling to other firms. [5]

Early Mintons porcelain was "busy in the restrained Regency mode", [6] much of it just with edging patterns rather than fully painted scenes, thus keeping prices within the reach of a relatively big section of the eye form.

Early porcelain
Mintons encaustic tile floor at the United States Capitol, 1856 MintonTile1.jpg
Mintons encaustic tile flooring at the The states Capitol, 1856

Minton'due south two sons, Thomas and Herbert, were taken into partnership in 1817, but Thomas went in to the church and was ordained in 1825. Herbert had been working in the business since 1808, when he was 16, initially every bit a travelling salesman. On his death in 1836, Minton was succeeded past his son Herbert Minton (1793–1858), who took John Boyle as a partner to help him the aforementioned twelvemonth, given the size of the business; by 1842 they had parted company. [7] Herbert developed new production techniques and took the business into new fields, notably including decorative encaustic tile making, through his association with leading architects and designers including Augustus Pugin and, it is said, Prince Albert.

Group of 5 Pugin tiles for the new St George's Cathedral, Southwark, 1847-48, with German bomb damage. Pugintile.jpg
Group of 5 Pugin tiles for the new St George's Cathedral, Southwark, 1847-48, with German bomb impairment.

Minton entered into partnership with Michael Hollins in 1845 and formed the tile making firm of Minton, Hollins & Company, which was at the forefront of a big newly developing marketplace as suppliers of durable decorative finishes for walls and floors in churches, public buildings, grand palaces and simple domestic houses. The firm exhibited widely at merchandise exhibitions throughout the world and examples of its exhibition displays are held at the Smithsonian Institution in Washington, D.C. where the company gained many prestigious contracts including tiled floor for the United states Capitol. The "encaustic" technique immune clays of dissimilar colours to be used in the aforementioned tile, allowing far greater decorative possibilities. Great numbers of new churches and public buildings were given floors in the tiles, and despite the protests of William Morris, many medieval church building floors were "updated" with them.

Hard white unglazed "statuary porcelain", afterwards chosen Parian ware due to its resemblance to Parian marble, was beginning introduced by Spode in the 1840s. It was farther adult by Minton who employed John Bong, Hiram Powers and other famous sculptors to produce figures for reproduction. Mintons had already been making some figures in the more demanding medium of biscuit porcelain, and reused some of these moulds in Parian. [8]

In the year ended 1842, the sales of the chief company Minton & Co totalled (all round £'000s) £45K, divided as follows: [9]

  • Porcelain: gilt £13K and ungilt £8K
  • Earthenware: enamelled £6K, printed £10K, "cream-colour" £4K, coloured bodies £2K
  • Ironstone: 2K

Much of the transfer printing was washed by exterior specialists, and "engraving done off the Works" cost £641, while "engraving done on the Works" cost £183. [10]

1820 to 1850

Mid-Victorian flow

In 1849 Minton engaged a immature French ceramicist Léon Arnoux equally art director who remained with the Minton Company until 1892. This and other enterprising appointments enabled the company greatly to widen its product ranges. Information technology was Arnoux who formulated [11] the tin-glaze used for Minton'southward rare tin-glazed Majolica together with the in-glaze metallic oxide enamels with which it was painted. He also adult the colored lead glazes and kiln engineering for Minton'due south highly successful pb-glazed Palissy [12] ware, later also called 'majolica'. This product transformed Minton'southward profitability for the next thirty years. Minton tin-glazed Majolica imitated the process and style of Italian Renaissance tin-glazed maiolica resulting in fine in-glaze brush-painted decoration on an opaque whitish ground. Minton coloured glaze decorated Palissy ware/ majolica employed an existing procedure much improved and with an extended range of coloured lead glazes applied to the biscuit body and fired. Both products were launched at The Groovy Exhibition of 1851. Forth with the majolica of multiple other English factories all are at present grouped as Victorian majolica. The coloured glazes of Palissy ware became a Mintons staple, as well every bit being copied by many other firms in England and abroad.

Mintons made special pieces for the major exhibitions that were a characteristic of the period, beginning with the Great Exhibition of 1851 in London, where they had considerable success, winning the statuary medal for "beauty and originality of blueprint". They followed this with a gold medal at the Exposition Universelle of 1855 in Paris. In London Queen Victoria bought Parian pieces and, for 1,000 guineas, a dessert service in a mix of bone prc and Parian, which she gave to Emperor Franz Joseph of Austria; it remains in the Hofburg in Vienna. [13]

Lead-glazed "majolica", and m Victorian showpieces
Copy in Parian ware of Hiram Powers' hit sculpture The Greek Slave, 1849. 14 1/2 inches high, where the original was life-size. The Greek Slave MET ADA5387.jpg
Re-create in Parian ware of Hiram Powers' hitting sculpture The Greek Slave , 1849. xiv one/2 inches loftier, where the original was life-size.

The next twenty-five years saw Mintons develop several new specialities in design and technique, while product of established styles continued unabated. As at Sèvres itself, and many other factories, wares evoking Sèvres porcelain of the 18th century had get popular from about the 1830s, and Arnoux perfected Mintons' blue and pinkish ground colours, essential for the Sèvres style, but much used for other wares. The Sèvres pink was called rose Pompadour , leading Mintons to call theirs rose du Barry after some other imperial mistress. [14] Alexandre Brongniart (1770-1847), creative director of Sèvres had given Mintons plaster casts of some original moulds, which enabled them to brand very close copies. [xv] At the end of the century, when the husband of Georgina Ward, Countess of Dudley, sold his original Sèvres pot-pourri vase in the shape of a ship, a famous, spectacular and rare Sèvres shape of the 1760s (now Getty Museum) in the 1880s, Mintons were deputed to make a re-create. [sixteen]

Parian ware, introduced in the 1840s, had go a strong surface area for Mintons, whose catalogue of 1852 already offered 226 figures in it, priced from an extremely modest two shillings for a dog, to half-dozen guineas for a classical effigy. In that decade partly-tinted Parian figures were introduced, and role-gilded ones. [17] Copies of gimmicky sculptures that had been hits at the Purple Academy Summer Exhibition or elsewhere were produced at a much-reduced scale in Parian. The American sculptor Hiram Powers' hit sculpture The Greek Slave was first made in 1843 in Florence, and by the end of the decade some of the 5 life-size versions he fabricated had toured several countries. Mintons first made a copy in 1848; by the version illustrated here, from 1849, the figure had lost the heavy chains betwixt her hands, which were maybe likewise expensive to brand for a popular production.

Arnoux had an involvement in reviving Saint-Porchaire ware, then generally known as "Henri Two ware". This was very high-quality lead-glazed earthenware fabricated from the 1520s to the 1540s in French republic; in 1898 the pottery was located to the hamlet of Saint-Porchaire (nowadays a part of Bressuire, Poitou). Mayhap 60 original pieces survive, and at the time the ware had a legendary repution. This was a very complicated ware to make, with much use of inlays of clay with different colours. Arnoux mastered the technique and then taught Charles Toft, maybe Mintons' peak modeller, who produced a small number of pieces. In addition to his influence on the product of encaustic tiles and mosaics, Arnoux too developed and produced azulejos in the Portuguese style. [18]

At some point earlier 1867 Mintons began to work with Christopher Dresser, ofttimes regarded equally the almost important British designer of the later on 19th century. At that fourth dimension he was beginning what became a strong involvement in ceramic design, leading him to work with several other companies. His work with Mintons connected for several decades, and although the Minton Annal has many designs certainly in his hand, other pieces in his manner can only be attributed to him. Dresser had travelled to Nippon, and in the 1870s produced a number of designs reflecting Japanese ceramics, catching the rising mode for Japonism in all areas of design. He was also interested in what might be called the "Anglo-Oriental" mode, evoking both Islamic and East Asian design, but without precisely post-obit anything. [19]

On his death in 1858 Herbert Minton was succeeded by his equally dynamic nephew Colin Minton Campbell who had joined the partnership in 1849, with a 1/3 share. Herbert had decreased his involvement in solar day-to-twenty-four hour period management in the years before his decease. [twenty] He took the company into a highly successful exploration of Chinese cloisonné enamels, Japanese lacquer and Turkish pottery.

Eclectic revival styles

The Franco-Prussian War of 1870 gave Arnoux the opportunity to recruit the modeller Marc-Louis Solon who had adult the technique of pâte-sur-pâte at Sèvres and brought it with him to Minton. In this procedure the pattern is built up in relief with layers of liquid slip, with each layer being immune to dry earlier the side by side is applied. At that place was smashing demand for Solon'southward plaques and vases, featuring maidens and cherubs, and Minton assigned him apprentices to assist the firm become the unrivaled leader in this field.

Others introduced to Minton by Arnoux included the sculptor Albert-Ernest Carrier-Belleuse and the painter Antoine Boullemier.

In 1870 Mintons opened an fine art pottery studio in Kensington, London directed by William Stephen Coleman and encouraged both amateur and professional artists to get involved in pottery ornament and design. This might exist in hand-painted plaques, or in producing designs to exist replicated in larger quantities in the Stoke manufactory. When the studio was destroyed by burn down in 1875, it was non rebuilt. [24]

Mid-Victorian painting, 1865-1880

Belatedly Victorian and 20th century

Top of Secessionist Ware box, 1906 Box (AM 1988.104-5) (cropped).jpg
Acme of Secessionist Ware box, 1906

From the mid-1890s onwards, Mintons made major contributions to Art Nouveau ceramics with a fine range of slip-trailed majolica ware, many designed by Marc-Louis Solon's son Leon Solon and his colleague John Wadsworth. Leon Solon was hired by Mintons afterwards his work was published in the hugely influential design mag The Studio and he worked for the visitor from 1895–1905, including a brief stint as Art Managing director. Solon introduced designs influenced by the Vienna Secession art move, founded by Gustav Klimt and others, and a range in earthenware fabricated from well-nigh 1901 to 1916 was branded as "Secessionist Ware". It was made mostly using industrial techniques that kept it relatively inexpensive, and was aimed at a broad market. The range concentrated on items bought singly or in pairs, such as jugs or vases, rather than full table services. [25]

The Secessionist range covered both applied and ornamental wares including cheese dishes, plates, teapots, jugs and comports, vases and large jardinières. The shapes of ornamental vases included inverted trumpets, elongated cylinders and exaggerated bottle forms, although tableware shapes were conventional. Early Secessionist patterns featured realistic renderings of natural motifs—flowers, birds and human figures—simply nether the combined influence of Solon and Wadsworth, these became increasingly exaggerated and stylised, with the characteristic convoluted constitute forms and floral motifs reaching extravagant heights. [26]

Plaque, perhaps 1909, porcelain with pate-sur-pate, a late work by Marc-Louis Solon. Plaque (England), possibly 1909 (CH 18210629) (cropped).jpg
Plaque, perhaps 1909, porcelain with pâte-sur-pâte, a late piece of work past Marc-Louis Solon.

"Secessionist Ware" was arguably the last boldly innovative move made by Mintons in terms of design. After World War I wares became rather more conventional. The Minton factory in the centre of Stoke was rebuilt and modernised after the 2d Globe War by the then managing manager, J. E. Hartill, a great-dandy-bang-up grandson of Thomas Minton. But the firm shared in the overall reject of the Staffordshire pottery manufacture in the post-state of war menses. The tableware division was always the mainstay of Minton's fortunes and the post-1950 rationalisation of the British pottery industry took Mintons into a merger with Royal Doulton Tableware Ltd. By the 1980s Mintons was only producing a few dissimilar shapes just still employed highly skilled decorators.

Legacy

Minton Archive

The Minton Annal comprises papers and drawings of the designs, manufacture and production of Mintons. Information technology was acquired by Waterford Wedgwood in 2005 along with other avails of the Royal Doulton grouping. [27] At one time it seemed the archive would become role of the Wedgwood Museum collection. In the event, the annal was presented by the Art Fund to the Urban center of Stoke-on-Trent, but it was envisaged that some material would be displayed at Barlaston equally well as the Potteries Museum and Art Gallery. [28]

Buildings

The main mill on London Road, Stoke-on-Trent was demolished in the 1990s, and the other mill, including office accommodation and a Minton Museum, was demolished in 2002 equally part of rationalisation within the Royal Doulton group. [29] Royal Doulton was taken over in plow by the Waterford Wedgwood group in Jan 2005. [30] As a effect of these changes, the ceramics collection formerly in the Minton Museum was partly dispersed. [31] On the other paw, the Minton Archive has been kept together with help from the Art Fund, being transferred to the City of Stoke-on-Trent in 2015. [32]

The Victorian building on Shelton Old Road, Stoke, which used to be the Minton Hollins tileworks is on a separate site from the erstwhile Minton pottery. Information technology was threatened with demolition in the 1980s but was listed in 1986 and has been preserved. [33] [34]

Notes

  1. ↑ Battie, 168
  2. ↑ Battie, 170
  3. ↑ the potteries org, Index "G"
  4. ↑ Godden, 257-258, 267
  5. ↑ Godden, 254-255
  6. ↑ Battie, 168
  7. ↑ Godden, 255-256
  8. ↑ Battie, 169
  9. ↑ Godden, 257 for all these figures
  10. ↑ Godden, 257
  11. ↑ Leon Arnoux, 1867, British Manufacturing Manufacture - Report on Pottery, p.42 "Majolica [tin-glaze earthenware, opaque white surface brush-painted in enamel colours] was produced for the first time past Messrs. Minton, in 1850, and they have been for many years the only producers of this article. The proper name of majolica is at present applied indiscriminately to all fancy manufactures of coloured pottery. When, notwithstanding, it is busy past means of coloured glazes [applied directly to the 'biscuit'], if these are transparent [translucent], it ought to be called Palissy ware ... Messrs. Wedgwood, George Jones, and a few other makers of less importance, are reproducing it more or less successfully. To Messrs. Minton, still, we owe the revival of the ware [the coloured pb glazes ware that they named 'Palissy ware'], which, in connection with [in addition to] their majolica [the tin-glaze product], created such a sensation in the French International Exhibition of 1855."
  12. ↑ named after the French Renaissance potter Bernard Palissy (c. 1510 – c. 1589)
  13. ↑ Battie, 169
  14. ↑ Battie, 168
  15. ↑ Vase and comprehend, V&A Museum
  16. ↑ Sassoon, Adrian, Vincennes and Sèvres Porcelain: Catalogue of the Collections, p. 52, 1992, Getty Trust Publications, ISBN 0892361735, 9780892361731, google books, though Sotheby's gave a somewhat different history when they sold the Minton Museum's example in 2005
  17. ↑ Battie, 168
  18. ↑ Digby Wyatt, May 26, 1858, Journal of the Society of Arts, On the influence exercised on ceramic manufacturers by the late Mr. Herbert Minton, p.442
  19. ↑ Battie, 170; "Dr Christopher Dresser and the Minton Connection", Minton Archive
  20. ↑ Godden, 256
  21. ↑ The Mantegna at Hampton Court Palace
  22. ↑ Metropolitan notation
  23. ↑ Metropolitan Museum curator's annotation
  24. ↑ "The art pottery studio", Mintons Annal
  25. ↑ "The Democratic Dish: Mintons Secessionist Ware", Minton Archive
  26. ↑ "Christopher Proudlove, "Mintons Secessionist Ware is an epitaph to designer Leon Solon" (WriteAntiques.com, 2006)". Writeantiques.com. Retrieved eight Baronial 2009. ; "The Democratic Dish: Mintons Secessionist Ware", Minton Archive
  27. ↑ "Art Fund helps salvage the Minton Archive for the nation" (PDF). Fine art Fund. Archived from the original (PDF) on 21 June 2015. Retrieved 21 June 2015.
  28. ↑ "Minton Archive saved for the nation" (Printing release).
  29. ↑ "Stoke - Stoke-on-Trent Districts". world wide web.thepotteries.org.
  30. ↑ "Waterford Wedgwood: Jobs to go". Manchester Evening News. Retrieved 3 June 2012.
  31. ↑ "Art sales: ceramics sale ruffles feathers". Telegraph. 2002. Retrieved 29 Feb 2016.
  32. ↑ "Minton Archive: Lifting the lid on centuries of life in pottery factories". The Lookout man . 2016. Retrieved 29 February 2016.
  33. ↑ Historic England. "One-time Minton Hollins Tileworks (1221093)". National Heritage List for England . Retrieved 30 June 2017.
  34. ↑ "Stoke-on-Trent Museums -Minton Hollins Tile Works, Shelton Old Road, Stoke". Search.exploringthepotteries.org.uk. Archived from the original on 22 July 2011. Retrieved 8 August 2009.

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Lead-glazed earthenware is ane of the traditional types of earthenware with a ceramic glaze, which coats the ceramic biscuit torso and renders it impervious to liquids, as terracotta itself is non. Evidently atomic number 82 glaze is shiny and transparent after firing. Coloured lead glazes are shiny and either translucent or opaque after firing. Three other traditional techniques are tin-glazed, which coats the ware with an opaque white glaze suited for overglaze castor-painted colored enamel designs; common salt glaze pottery, also often stoneware; and the feldspathic glazes of Asian porcelain. Modern materials technology has invented new vitreous glazes that exercise non fall into these traditional categories.

Ceramic art Decorative objects made from clay and other raw materials by the process of pottery

Ceramic fine art is art made from ceramic materials, including clay. It may have forms including artistic pottery, including tableware, tiles, figurines and other sculpture. As one of the plastic arts, ceramic art is ane of the visual arts. While some ceramics are considered fine art, equally pottery or sculpture, most are considered to exist decorative, industrial or applied art objects. Ceramics may as well be considered artefacts in archaeology. Ceramic fine art can be fabricated past one person or by a grouping of people. In a pottery or ceramic manufactory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery". In a one-person pottery studio, ceramists or potters produce studio pottery.

References

  • Battie, David, ed., Sotheby'southward Concise Encyclopedia of Porcelain, 1990, Conran Octopus, ISBN 1850292515
  • Godden, Geoffrey, English Communist china, 1985, Barrie & Jenkins, ISBN 0091583004
  • Fell, George, Pottery Through the Ages, Penguin, 1959

Farther reading

  • Atterbury, Paul, and Batkin, Maureen, Dictionary of Minton, Antique Collectors' Gild, 1990.
  • The Minton Archive
  • Famous Potters of Stoke-on-Trent – Thomas Minton
  • Explore historic Minton pottery online
  • The Majolica Guild
  • Stoke Museums: home to the former Minton Museum collection

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