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The neck is shaped in a rough hexagon, with the rim shaped to match the sections. The exterior is decorated with naturalistic bulrushes, in relief, the leaves running from foot to shoulder or rim. The handle is also shaped as a bulrush and leaves. The outside is smear-glazed, the interior fully glazed and shiny. The underside is recessed and smear-glazed."}],"identifier":[{"accession_number":"C.47-1981","primary":true,"type":"accession number","value":"C.47-1981"},{"priref":"75217","type":"priref","value":"75217"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75217","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75217"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Countess Shelagh S. 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The smear-glazing makes the most of the way that colour-stained clays show off crisply-moulded ornament, whilst the stoneware would be durable in an everyday setting. There are several examples in the Fitzwilliam Collection. This jug\u2019s bulrush design indicates its function, as a water jug."},{"value":"The Ridgway family produced stoneware and porcelain in Staffordshire from the 1790s until the 20th Century. Trained by their father, Job, the brothers William and John already had a reputation for drab (coloured) stoneware  decorated with applied relief sprigs when William Ridgway established Church Works, Hanley, in 1831. He was also a noted philanthropist, building alms houses and a school for local children \u2013 many of whom he employed in his potteries. With his partner James Leonard Abington and (later) his son Edward, by 1843 he operated six pot-works in Hanley and Shelton. The business  became known for its relief-moulded jugs, for which it is likely that Abington was the modeller, and was re-named Ridgway & Abington in 1845. One of the first to offer such jugs, in the early 1830s, they produced some 26 designs over the next 30 years. Other potters followed, notably Minton and Charles Meigh, and relief moulded jugs (some with ceramic or metal lids) in a wide variety of design became a popular household mainstay for water, beer milk and other liquids which might now be kept in bottles, cans or plastic jars."},{"value":"The decoration is unusual. However, an 1849 review in The Journal of Design and Manufactures commends it over the more common use of narrative or classical designs: 'The bulrush jug is calculated for a large sale, by reason, as it seems, of its demanding probably little labour to finish it, and its consequent cheapness\u2026 we presume [it] is for tee-totallers, from the watery character of its ornament\u2019. 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The corners are filled with a carved pattern which mimics the oval trellis.\tThere are incised outlines to the main edges, and traces of tool markings and brown, blue and green colours on the sides. The top is flat and undecorated, except for the maker\u2019s name incised in script; it has a waisted and chamfered edge, 4cm deep. The bottom is roughly made with a large circular hole in the middle. 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They  designed, made and decorated their own ornamental salt-glazed stoneware, originally using facilities at C.J.C.Bailey\u2019s Fulham Pottery and, briefly, at Shepherd\u2019s Bush. In 1877, they opened their own pottery at  Southall, Middlesex, and by 1882 were producing  some 5,000 pieces a year. Wallace had originally trained as a sculptor, exhibiting his work at the Royal Academy and elsewhere from c.1863. His younger brothers had learned their skills at Doulton\u2019s, Walter as a thrower and chemist, Edwin as a decorator. Modelled work is generally attributed to Wallace, but otherwise it is thought that the three learned from each other, exchanging skills and sharing roles. A fourth brother, Charles (1846-1910), sold the products \u2013 known as \u2018Martin-ware\u2019 \u2013 from a shop at Brownlow Street, London."},{"value":"The owl, 103 cm high, is also in the Fitzwilliam collection."},{"value":"The plinth was made to support a punch bowl, made to resemble an owl, which modelled by (Robert) Wallace Martin at the Martin Brothers' pottery in Southall. It remained there until  it was sold to Dr Glaisher at the 1924 sale which followed Wallace\u2019s death the previous year. 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Centre decorated with a raised design incorporating eight ears of wheat radiating from a geometric leaf and flower motif , surrounded by a strip of stylised leaves. Rim decorated with the motto \u2018WASTE NOT WANT NOT\u2019, in Gothic lettering, the words separated by floral motifs. The letters are glazed deep blue,  other parts are clear glazed. The underside is recessed, forming a pronounced foot-rim, and glazed. A suspension hole has been drilled through one of the floral motifs on the rim."}],"identifier":[{"accession_number":"C.52-1972","primary":true,"type":"accession number","value":"C.52-1972"},{"priref":"75411","type":"priref","value":"75411"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75411","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75411"}],"inscription":[{"location":"underside","method":"impressed","transcription":[{"value":"MINTONS \/ BB"}],"type":"factory mark"},{"description":[{"value":"(script-type letter)"}],"location":"underside","method":"impressed","transcription":[{"value":"E"}],"type":"mark"},{"description":[{"value":"(Roman type)"}],"location":"underside","method":"impressed","transcription":[{"value":"E"}],"type":"mark"},{"location":"underside","method":"impressed","transcription":[{"value":"430"}],"type":"mark"},{"description":[{"value":"tiny oval stamp containing cross"}],"location":"underside","method":"impressed","type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Bought using the Perceval Fund and a Grant-in-Aid from the Victoria and Albert Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-160895","uid":"adlib-agent-160895","uuid":"a1eb7880-da59-3f1e-96f8-35488a6c8c56"},"summary_title":"Stainton, Thomas"}],"date":[{"earliest":1972,"latest":1972,"value":"1972"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1972-10-19"}]}],"creation":[{"date":[{"earliest":1875,"era":["CE"],"latest":1875,"note":[{"value":"dated"}],"value":"1875"}],"maker":[{"@link":{"role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-153865","uid":"adlib-agent-153865","uuid":"853be336-7cfb-32d1-aa54-fb4dff401cf0"},"summary_title":"Minton & Co."},{"@link":{"qualifier":"(from 1873)","type":"reference"},"admin":{"id":"agent-192318","uid":"adlib-agent-192318","uuid":"44c204bb-e5d3-3e5f-a7cd-7f9bae4b2916"},"summary_title":"Mintons Ltd"},{"@link":{"role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-111263","uid":"adlib-agent-111263","uuid":"e4a27eac-d26a-3f1a-b0f7-b241d1cd4ffd"},"summary_title":"Pugin, Augustus Welby Northmore"}],"note":[{"value":"Augustus Welby Northmore Pugin (1812-1852) was a leading proponent of the Gothic style and believed it could be successfully applied to all designs, from domestic tableware to church interiors. A three-coloured, inlaid version of this plate was shown at the Birmingham Exhibition of 1849 and an engraving was printed in the Journal of Design the following year. The design, listed in the Minton ornamental shape books as \u2018430 Tray, bread, Pugin\u2019s \u2018WASTE NOT WANT NOT\u2019, encaustic (M)\u2019, was available for many years, produced with either inlaid (encaustic) design or in relief-decorated Majolica (the final \u2018M\u2019 in the shape book indicates Majolica).  On this Majolica example, the factory mark indicates a date after 1873, which is confirmed by the impressed year mark for 1875."},{"value":"Minton, founded in 1793,  originally produced blue printed earthenware and, later, creamware, bone china and other products, particularly tableware. Taking over in 1836, Herbert Minton revolutionised production methods and introduced new lines in encaustic and printed tiles, figures and ornamental wares. Minton encaustic tiles, designed by Pugin c.1850, featured extensively in Pugin\u2019s designs for the interior of the new Palace of Westminster and wares \u2018coloured in the Majolica style\u2019 were introduced, to great acclaim, at the Great Exhibition of 1851. In 1858 the business passed to Herbert\u2019s nephew, Colin Minton Campbell (1827-85), who continued the expansion. The early business traded under various names, from 1845 it was known as Minton & Co. and from 1873 as Mintons Ltd."},{"value":"The ears of wheat in the design symbolise bread, indicating the function of the plate. The motto \u2018waste not want not\u2019, first recorded in 1772, would have had special meaning when Pugin designed the plate, at the end of a decade when many people went hungry. An earlier version, \u2018willful waste makes woeful want\u2019 was in use from c.1576."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-108070","uid":"adlib-term-108070","uuid":"7e278258-23e3-3d5b-a4ff-ab5ecacb4bf3"},"summary_title":"19th Century, Late"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-116524","uid":"adlib-term-116524","uuid":"2532ce61-8150-3256-b951-d5175a8faa11"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Stoke"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}}],"measurements":{"dimensions":[{"dimension":"Diameter","units":"cm","value":"34.3"},{"dimension":"Height","units":"cm","value":"2.5"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-45140","uid":"adlib-media-45140","uuid":"9c685891-c23b-37cb-a712-446d65745bb1"},"processed":{"large":{"format":"jpeg","location":"aa\/aa3\/C_52_1972_281_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":740},{"dimension":"width","units":"pixels","value":570}]},"modified":1742583342266,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa3\/mid_C_52_1972_281_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":649},{"dimension":"width","units":"pixels","value":500}]},"modified":1742583342266,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa3\/C_52_1972_281_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":740},{"dimension":"width","units":"pixels","value":570}]},"modified":1742583342266,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa3\/preview_C_52_1972_281_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":325},{"dimension":"width","units":"pixels","value":250}]},"modified":1742583342266,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}},{"@link":{"type":"reference"},"admin":{"id":"media-45141","uid":"adlib-media-45141","uuid":"99b18b3a-ea64-39cb-b01a-3c0c6bd2f3ae"},"processed":{"large":{"format":"jpeg","location":"aa\/aa3\/C_52_1972_282_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":740},{"dimension":"width","units":"pixels","value":570}]},"modified":1742583393317,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa3\/mid_C_52_1972_282_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":649},{"dimension":"width","units":"pixels","value":500}]},"modified":1742583393317,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa3\/C_52_1972_282_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":740},{"dimension":"width","units":"pixels","value":570}]},"modified":1742583393317,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa3\/preview_C_52_1972_282_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":325},{"dimension":"width","units":"pixels","value":250}]},"modified":1742583393317,"resizable":true,"type":"image"}},"sort":"1","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-117138","uid":"adlib-term-117138","uuid":"e2a9f298-5d84-3e66-84d5-5fd4649077be"},"summary_title":"bread plate"}}],"note":[{"type":"history note","value":"From the Charles & Lavinia Handley-Read Collection. Purchased from the executor, Thomas Stainton, 1972."}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-75074","uid":"adlib-object-75074","uuid":"0ab6e574-5d63-3b95-9483-a1466ae80dac"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-88137","uid":"adlib-term-88137","uuid":"eeab1777-4158-31f4-8f8a-0015cb1910f7"},"summary_title":"ewer"}},"summary_title":"ewer"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-75036","uid":"adlib-object-75036","uuid":"4a8ee79b-3553-37ee-b325-693f7128447a"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-89480","uid":"adlib-term-89480","uuid":"f1ea518e-351c-3f42-b2a7-db0f8559fa2c"},"summary_title":"vase"}},"summary_title":"vase"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-74966","uid":"adlib-object-74966","uuid":"5d74eb4d-6d87-33d6-a1b3-d3ed5f8bffb8"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-91154","uid":"adlib-term-91154","uuid":"e8910136-0f36-3b86-960d-f7466393839d"},"summary_title":"tazza"}},"summary_title":"tazza"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-74920","uid":"adlib-object-74920","uuid":"a1038f68-ef6b-3650-b2c3-2ae0b59a7616"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-88137","uid":"adlib-term-88137","uuid":"eeab1777-4158-31f4-8f8a-0015cb1910f7"},"summary_title":"ewer"}},"summary_title":"ewer"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-15302","uid":"adlib-object-15302","uuid":"df15d696-5363-3c1f-9a01-34bbf626c29b"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-30982","uid":"adlib-term-30982","uuid":"952a2227-ce0e-31a3-a0d9-40085991be5b"},"summary_title":"tile"}},"summary_title":"tile"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Cf. an early example, with inlaid design in three colours, now in the V&A (C.46-1972). See pp.17-18 for factory and date marks.","page":"17-18","type":"reference"},"admin":{"id":"publication-2727","uid":"adlib-publication-2727","uuid":"02232f50-fd3b-3b8a-9687-1a8ff3f7c0d1"},"summary_title":"Minton 1798-1910"},{"@link":{"notes":"Cf. B39, an example with inlaid design.","page":"30","type":"reference"},"admin":{"id":"publication-1048","uid":"adlib-publication-1048","uuid":"3731e4a6-d392-3c17-9cbb-1cb7a099cfbb"},"summary_title":"Victorian and Edwardian Decorative Art , The Handley-Read Collection"},{"@link":{"notes":"Cf. contemporary engraving of plate, made by Minton and design attributed to Pugin. See also Vol. III, p.88.","page":"Vol.II p. 97","type":"reference"},"admin":{"id":"publication-200002963","uid":"adlib-publication-200002963","uuid":"8e90a81b-ad38-3148-b5ba-24f060b2f42a"},"summary_title":"Journal of Design and Manufactures"},{"@link":{"type":"reference"},"admin":{"id":"publication-7717","uid":"adlib-publication-7717","uuid":"cfc591c4-fcca-3992-be8b-eb0ca6658ce0"},"summary_title":"Design from 1860, Auction 18002,  21 April 2010"},{"@link":{"notes":"Ref. Pugin design for bread plate with ill. of similar designs. See p.345 for listing in Minton shape book, p.379 for factory marks.","page":"53, 345, 379","type":"reference"},"admin":{"id":"publication-3003","uid":"adlib-publication-3003","uuid":"642094f9-3e39-3eeb-90ea-42311670123e"},"summary_title":"Minton: The First Two Hundred Years of Design & Production"},{"@link":{"notes":"Cf. a different design of bread plate by Pugin, no 368, motto \u2018Waste Not \u2013 Want Not \u2013 Spare Not\u2019.","page":"71","type":"reference"},"admin":{"id":"publication-7698","uid":"adlib-publication-7698","uuid":"47b18eed-f183-34ab-a010-3ed1821bbf58"},"summary_title":"Minton \u2018Majolica\u2019: an historical survey and exhibition catalogue"},{"@link":{"type":"reference"},"admin":{"id":"publication-7718","uid":"adlib-publication-7718","uuid":"34e60420-f402-3d01-a0dd-999df7025476"},"summary_title":"Pugin: a Gothic passion"},{"@link":{"notes":"Ref. re Pugin\u2019s links with Minton and bread plate exh. 1949. Also ill. design for a block printed soup plate. p.367 for Minton bibliography, pp.378-80 for marks.","page":"292-293","type":"reference"},"admin":{"id":"publication-7697","uid":"adlib-publication-7697","uuid":"78ab2e7d-b46a-3610-9abd-ab9839494cf3"},"summary_title":"Dictionary of Minton"},{"@link":{"notes":"Cf. p. 173, no. 183, decorated in blue and red, Minton, 1851","page":"163-174","type":"reference"},"admin":{"id":"publication-200002916","uid":"adlib-publication-200002916","uuid":"b85b802d-8d56-3271-85d1-4ae390599633"},"summary_title":"The Ceramic Designs of A.W.N. Pugin"},{"@link":{"notes":"Ref. marks, incl. \u2018best body\u2019 mark.","page":"440-442","type":"reference"},"admin":{"id":"publication-2663","uid":"adlib-publication-2663","uuid":"a2faf0b6-febd-3d16-82e0-6444a2dc48e7"},"summary_title":"Encyclopaedia of British Pottery and Porcelain Marks"},{"@link":{"notes":"Ref. Minton majolica ware ewer & basin (ill.) and information about Minton majolica.","page":"110","type":"reference"},"admin":{"id":"publication-1030","uid":"adlib-publication-1030","uuid":"9cf77d50-a614-3947-8d0e-919f695fe7b0"},"summary_title":"Fitzwilliam Museum Handbooks, English Pottery"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10670","uid":"adlib-term-10670","uuid":"c8fcad8a-6e94-3268-a195-a27c0bf17540"},"summary_title":"Gothic Revival"}],"subjects":[{"@link":{"type":"reference"},"admin":{"id":"term-134012","uid":"adlib-term-134012","uuid":"160b5d6c-6f79-3344-ba71-1edd82c255bd"},"summary_title":"Birmingham Exhibition, 1849"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-117138","uid":"adlib-term-117138","uuid":"e2a9f298-5d84-3e66-84d5-5fd4649077be"},"summary_title":"bread plate"}},"summary_title":"bread plate","techniques":[{"description":[{"value":"relief moulded earthenware with Majolica glazes"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-111179","uid":"adlib-term-111179","uuid":"be5c887b-c0ed-3d89-82b2-c3a870e72a68"},"summary_title":"moulding"}}],"title":[{"value":"Pugin bread plate"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-74920","_score":14.046335,"_source":{"admin":{"added":1592999652000,"created":1312637261000,"flag":"Standard Record","id":"object-74920","indexed":1754330645442,"modified":1714467790000,"processed":1754330624263,"source":"adlib","stream":"fitz-online","uid":"adlib-object-74920","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/74920","uuid":"a1038f68-ef6b-3650-b2c3-2ae0b59a7616","version":6},"agents":[{"@link":{"note":[{"value":"Art Director of Minton"}],"type":"reference"},"admin":{"id":"agent-192154","uid":"adlib-agent-192154","uuid":"008703e9-2a85-3b84-a33f-7620291deb49"},"summary_title":"Arnoux, Leon"},{"@link":{"note":[{"value":"1813-57; designer of forms"}],"type":"reference"},"admin":{"id":"agent-173234","uid":"adlib-agent-173234","uuid":"f45c17a6-8606-3224-b71e-f1a1926aedfd"},"summary_title":"Jeannest, Pierre Emile"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-150829","uid":"adlib-agent-150829","uuid":"12e8b411-c52f-3a3a-99ed-a862ffafad8e"},"summary_title":"Triton"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"},{"@link":{"type":"reference"},"admin":{"id":"term-108657","uid":"adlib-term-108657","uuid":"c170cd8e-fc63-3446-81a4-6682b5979808"},"summary_title":"lead-glazed earthenware"},{"@link":{"type":"reference"},"admin":{"id":"term-133689","uid":"adlib-term-133689","uuid":"4ef26466-81ce-3d12-aa11-d9f705180c56"},"summary_title":"majolica ware"}],"component":[{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107733","uid":"adlib-term-107733","uuid":"00160189-e3ce-3796-a88b-5aa8d6c808c4"},"summary_title":"lead-glaze"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}}],"name":"Decoration","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-106226","uid":"adlib-term-106226","uuid":"194567f2-2bcd-3446-ae31-652386611815"},"summary_title":"painting"}}]},{"measurements":{"dimensions":[{"dimension":"Depth","units":"cm","value":"56"},{"dimension":"Height","units":"cm","value":"8"},{"dimension":"Width","units":"cm","value":"62.5"}]},"name":"Stand"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"75"},{"dimension":"Width","units":"cm","value":"33"}]},"name":"Ewer"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-1111","uid":"adlib-term-1111","uuid":"46c949dd-f376-3538-878f-397baee5be09"},"summary_title":"mythology"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Earthenware ewer and stand, moulded in several parts and decorated with applied high relief figures, green, ochre, buff and magenta majolica glazes  and blue enamel."},{"value":"The ewer is of classical shape with a small foot, ovoid body, tall neck and scrolled rim. The highly ornate loop handle which extends above the rim is modelled as Triton, a merman bending backwards and clutching his bifurcated foliate tail. A moulded mermaid is applied below the spout, her arms spread as on the prow of a ship.  The body is decorated with applied green foliage set on a magenta ground, two moulded masks and four large oval turquoise panels.  The underside is hollow and clear-glazed, except for a broad foot-rim, with a central metal wing-nut bolting the base to the body."},{"value":"The stand is oval with a wide flared rim. Around the rim are four more moulded masks, holding oak-leaf swags over four slightly convex, plain turquoise ovals.  The circular centre is mid-blue, encircled by a thin band of ochre and a wider band of green foliage on magenta ground. The underside is clear glazed."}],"exhibitions":[{"@link":{"catalogue":"C 19","type":"reference"},"admin":{"id":"exhibition-1072","uid":"adlib-exhibition-1072","uuid":"5f0c5c3b-ca10-352c-8c84-8027304959ff"},"summary_title":"Victorian and Edwardian Decorative Art - The Handley-Read Collection"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-1682","uid":"adlib-exhibition-1682","uuid":"4e7148c5-e3d5-3b39-8195-7ad42d347c5f"},"summary_title":"Variations on Ceramic Themes, Big is Beautiful?"}],"identifier":[{"accession_number":"C.40 & A-1972","primary":true,"type":"accession number","value":"C.40 & A-1972"},{"priref":"74920","type":"priref","value":"74920"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/74920","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/74920"}],"inscription":[{"description":[{"value":"circle with protruding line"}],"location":"underside of stand","method":"impressed","type":"mark"},{"description":[{"value":"A or triangle"}],"location":"underside of stand","method":"impressed","transcription":[{"value":"A"}],"type":"mark"},{"description":[{"value":"smudge"}],"location":"underside of ewer","method":"painted in blue","type":"mark?"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Purchased with the Perceval Fund and grant-in-aid from the Victoria and Albert Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-160895","uid":"adlib-agent-160895","uuid":"a1eb7880-da59-3f1e-96f8-35488a6c8c56"},"summary_title":"Stainton, Thomas"}],"date":[{"earliest":1972,"latest":1972,"value":"1972-10-19"}],"method":{"value":"bought"},"note":[{"value":"Check date of accession in register"}]}],"creation":[{"date":[{"earliest":1856,"era":["CE"],"latest":1856,"note":[{"value":"date mark for 1856"}],"value":"1856"}],"maker":[{"@link":{"role":[{"value":"factory"}],"type":"reference"},"admin":{"id":"agent-153865","uid":"adlib-agent-153865","uuid":"853be336-7cfb-32d1-aa54-fb4dff401cf0"},"summary_title":"Minton & Co."},{"@link":{"role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-173234","uid":"adlib-agent-173234","uuid":"f45c17a6-8606-3224-b71e-f1a1926aedfd"},"summary_title":"Jeannest, Pierre Emile"}],"note":[{"value":"At least five examples of this shape, designed by Pierre Emile Jeannest (1813-57), are known. This and another have plain turquoise panels. Others have finely painted narrative panels. One of these, now in the Victoria & Albert Museum (no.8107&A-1863), was painted by Thomas Allen with classical gods (after Polidoro da Caravaggio) while the stand shows the Labours of Hercules (after Lebrun). It was shown by Minton at the London International Exhibition of 1862. The shape, however, was in use earlier as indicated by the date-mark, 1856, on the Fitzwilliam example and an early listing in the Minton ornamental shape book 3, c.1854-62, which reads: \u2018616: \u2018Ewer and stand, Jeannest, with Triton handle, H.2\u20196\u201d \u2018. The Greek god Triton, son of Poseidon, was the messenger of the sea; he is typically represented as the merman seen here."},{"value":"Minton, founded in 1793, originally produced blue printed earthenware and, later, creamware, bone china and other products, particularly tableware. Taking over in 1836, Herbert Minton  (1793-1858) revolutionised production methods and introduced new lines in encaustic and printed tiles, figures and ornamental wares. In 1858 the business passed to Herbert\u2019s nephew, Colin Minton Campbell (1827-85), who continued the expansion. The early business traded under various names, from 1845 it was known as Minton & Co. and from 1873 as Mintons Ltd."},{"value":"Pierre-Emile Jeannest, (1813 \u2013 1857) was a French ceramic and silver designer. The son of a sculptor, he worked for Minton c.1846-1852, designing Parian figures, majolica ware and tableware. He later worked for Elkingtons, designing silver, whilst continuing to supply Minton designs as a freelance. He also taught the model class at Stoke School of Design."},{"value":"This is a particularly ambitious example of  mid-nineteenth century ceramics combining Renaissance sources with  innovation. Minton launched wares \u2018coloured in the Majolica style\u2019 at the Great Exhibition of 1851, to great acclaim. The new product took inspiration from  Italian  maiolica, tin-glazed earthenware with finely painted decoration, Della Robbia sculpture, and the brightly coloured lead-glazes favoured by Bernard Palissy. Other factories, including Wedgwood, followed suit, but Minton\u2019s Majolicaware  developed in the late 1840s was notable for an exceptionally wide  palette of glazes developed under the leadership of Art Director L\u00e9on 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Notes survival of a \u2018related drawing\u2019\n See p.17-18 for date mark.","page":"95-7","type":"reference"},"admin":{"id":"publication-2727","uid":"adlib-publication-2727","uuid":"02232f50-fd3b-3b8a-9687-1a8ff3f7c0d1"},"summary_title":"Minton 1798-1910"},{"@link":{"type":"reference"},"admin":{"id":"publication-7708","uid":"adlib-publication-7708","uuid":"30dc90f4-447b-3dfb-894c-45261c4cb67a"},"summary_title":"19th Century Furniture, Sculpture, Ceramics, Silver and Works of Art"},{"@link":{"type":"reference"},"admin":{"id":"publication-5707","uid":"adlib-publication-5707","uuid":"b6b6c845-9e48-324f-aa44-f8d7407d68a2"},"summary_title":"High Victorian Decorative Arts and Design"},{"@link":{"notes":"Cf. p. 78, lot 449, sale 5 October 1993, illustrated, a very similar ewer with similar plain turquoise panels, but without stand. 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Two strap handles rejoin the body at the rim and are then joined by a continuous loop across the top. The surface is covered with incised and inlaid clay patterns, in light and dark brown, which imitate those used on 16th-century \u2018Henri II\u2019 or \u2018St Porchaire\u2019 ware. A light brown modelled dog sits atop the loop handle and unpainted relief decoration, including a bearded mask, putti and a rope circling the upper body; four incised straps decorate the foot. 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The new product took inspiration from Renaissance maiolica, but used brightly coloured lead-glazes and favoured sculptural forms rather than finely painted decoration. The Minton Art Director L\u00e9on Arnoux (1816-1902), however, sought to more directly reproduce Renaissance techniques and shapes, and in 1858 produced his first imitation of 16th-century French \u2018Henri II\u2019 inlaid earthenware (also known as \u2018Saint Porchaire\u2019 ware or \u2018Faience d\u2019Oiron\u2019). Many of Arnoux\u2019s designs. Charles Toft Snr. (1832-1909), who later became chief modeller for Wedgwood, specialised in realising this type of decoration during the 1860s-70s, drawing on Delange\u2019s book of all the known examples, published in 1861. Minton continued to offer \u2018Henri II\u2019 ware until c.1893."},{"value":"Only a limited number of pieces was produced, however, and mainly for display.  \u2018Henri II\u2019 ware was fragile and, as Colin Minton Campbell noted, \u2018it is very expensive, from the inlaying of the clays, and the effect is not equal to the cost\u2019 (Jones, 150). The geometric ornamentation was made by pressing metal dies into the unfired surface and then filling the depressions with clay. The relief decorations were moulded and applied. Although unlike Majolica ware in appearance, the glaze used is similar."},{"value":"Several versions of this example exist, including at the V & A Museum (CIRC.825-1920). These generally have an additional foot-plate and more painting on the relief decoration. 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Launched at the Great Exhibition of 1851, to great acclaim, wares \u2018coloured in the Majolica style\u2019 took inspiration from Italian maiolica, tin-glazed earthenware with finely painted decoration. Some Minton designers, such as Kirkby, favoured close imitation of Italian designs (as here),    though 19th-century \u2018Majolica ware\u2019 more often favours sculptural forms and brightly coloured lead glazes."},{"value":"Minton, founded in 1793 by Thomas Minton (1765-1836) , originally produced blue printed earthenware and, later, creamware, bone china and other products, particularly tableware. Taking over in 1836, his son Herbert Minton revolutionised production methods and introduced new lines in encaustic and printed tiles, figures and ornamental wares. In 1858 the business passed to Herbert\u2019s nephew, Colin Minton Campbell (1827-85), who continued the expansion. 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On the front is a ship in full sail with the inscription 'Bucton Castle crossing the Line', above, and below, the inscription 'From Rocks & Sands\/ & Every Ill\/ may God Protect the Sailor\/ Still\/ John Phillips Hoyle\/ 1857 Bideford'."}],"identifier":[{"accession_number":"Gl.C.74-1928","primary":true,"type":"accession number","value":"Gl.C.74-1928"},{"priref":"77104","type":"priref","value":"77104"},{"source":"Theodore Charbonnier Collection, see his MS Catalogue","type":"old object number","value":"7"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/77104","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/77104"}],"inscription":[{"location":"on front","method":"incised","transcription":[{"value":"Bucton Castle crossing the Line"}],"type":"inscription"},{"location":"on front","method":"incised","transcription":[{"value":"From Rocks & Sands\/ & Every Ill\/ may God Protect the Sailor\/ Still\/ John Phillips Hoyle\/ 1857 Bideford"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Dr J. 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Decorated on each side with a transfer which is hand painted in red, yellow and green enamels. Each transfer is framed by a waving line of lustre, set on a ground of underglaze blue. Thin bands of lustre around the rim and neck, a line down the handle and lustre decorations under the lip are similarly \u2018shadowed\u2019 by under-glaze blue. The underside is flat and glazed, with a raised foot-rim."},{"value":"The images and text are as follows:\n(a)\tthe Princess Royal and Prince Frederick, the Princess wearing a crinoline. They are surrounded by painted flowers, with their name labels below: \u2018PRINCESS ROYAL \/ PRINCE OF PRUSSIA\u2019; \n(b)\ta view of the Prince\u2019s palace in Berlin, with a carriage and people promenading in the foreground, the ladies wearing crinolines, flanked by grass and trees painted in green enamel."}],"identifier":[{"accession_number":"C.1167-1928","primary":true,"type":"accession number","value":"C.1167-1928"},{"priref":"71445","type":"priref","value":"71445"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71445","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71445"}],"inscription":[{"location":"underside of base","method":"hand-painted in pink lustre","transcription":[{"value":"136"}],"type":"mark"},{"location":"underside of base","method":"rectangular paper label handwritten in black ink","transcription":[{"value":"\u20182649. 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The design was engraved on a copper plate, which was covered with linseed oil; a thin bat of animal glue was pressed onto the oiled plate and then applied to the ware. The ware was then dusted with powdered metallic oxide, which adhered to the oil, and fired to fix the design. Round-bodied vessels were particularly well suited to this method as the flexible bat could be stretched around curves."},{"value":"This type of jug was made for everyday use. The shape and size of this example suggest it may be for milk. The transfers indicate the date of manufacture. Victoria, Princess Royal (the eldest child of Queen Victoria) was betrothed to Prince Frederick William of Prussia in 1857 and they married on 25 January 1858. Frederick became Emperor of Germany and King of Prussia in March 1888, but died just 99 days later. Thereafter, Victoria was known as The Empress Frederick. 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