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The underside is flat and unglazed, with a turned foot rim."}],"exhibitions":[{"@link":{"catalogue":"no. 911","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"}],"identifier":[{"accession_number":"C.45-1972","primary":true,"type":"accession number","value":"C.45-1972"},{"priref":"75154","type":"priref","value":"75154"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75154","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75154"}],"inscription":[{"description":[{"value":"Doulton rosette used c.1880-1891"}],"location":"underside of base","method":"impressed","transcription":[{"value":"DOULTON\/LAMBETH"}],"type":"mark"},{"location":"underside of base","method":"impressed","transcription":[{"value":"1880"}],"type":"date"},{"description":[{"value":"lower case e"}],"location":"underside of base","method":"impressed","transcription":[{"value":"e"}],"type":"mark"},{"description":[{"value":"slanted line with three shorter lines, equidistant to each other, crossing it"}],"location":"underside of base","method":"incised","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 with the Perceval Fund and grant-in-aid from the Victoria and Albert Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-160896","uid":"adlib-agent-160896","uuid":"aa4bcbab-38fb-3dab-91d8-364175df2ec3"},"summary_title":"Handley-Read Estate"}],"date":[{"earliest":1972,"latest":1972,"value":"1972-10-19"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1972-10-19"}]}],"creation":[{"date":[{"earliest":1880,"era":["CE"],"latest":1880,"value":"1880"}],"maker":[{"@link":{"role":[{"value":"pottery"}],"type":"reference"},"admin":{"id":"agent-188654","uid":"adlib-agent-188654","uuid":"1d8e687a-5fd0-3c17-a37e-ed6874b8b479"},"summary_title":"Doulton & Co."},{"@link":{"qualifier":"perhaps","role":[{"value":"decorator"}],"type":"reference"},"admin":{"id":"agent-160918","uid":"adlib-agent-160918","uuid":"76f36dc3-9788-3142-b0fe-3e1e0c2b2946"},"summary_title":"Evans, Bertha"},{"@link":{"qualifier":"perhaps","role":[{"value":"decorator's assistant"}],"type":"reference"},"admin":{"id":"agent-160931","uid":"adlib-agent-160931","uuid":"6c02c032-3c66-3bd8-81f1-e2e9c44e4d4b"},"summary_title":"Dennis, Florence"}],"note":[{"value":"Bertha Evans and Florence Dennis are listed, respectively, as senior and junior assistants at Doultons in the early 1880s, Bertha continuing until 1887 and Florence, who also worked on fa\u00efence, until 1891. Many of Doulton's artists were women, and in 1881\/2 they presented an illuminated manuscript to Henry Doulton 'to take this opportunity of expressing our obligations to you for the origination of an occupation at once interesting and elevating to so large a number of our sex'. (see Dennis, part I)."},{"value":"Doulton and Co, founded c.1815, originally made utility ceramics, with some stoneware jugs and ornamental bottles. Henry Doulton introduced decorative stoneware and architectural terracotta at Lambeth in the mid 1860s; over the next 50 years, he employed some  400 artists, many of them Lambeth School of Art students. Doulton championed individuality, innovation and versatility, and his modellers and decorators used a wide range of techniques and decorative treatments in producing both unique, artist-signed, and limited edition pieces. 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A brown line runs around the rim, the base of the neck and the top of the foot. The underside is concave and glazed, with the maker\u2019s name and date incised in script and incised tool marks."}],"identifier":[{"accession_number":"C.17-X","primary":true,"type":"accession number","value":"C.17-X"},{"priref":"186318","type":"priref","value":"186318"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/186318","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/186318"}],"inscription":[{"description":[{"value":"mark"}],"location":"underside of base","method":"incised in script","transcription":[{"value":"P27 R W Martin London 10-1875"}],"type":"mark"},{"description":[{"value":"museum mark, probably indicating Glaisher Collection"}],"location":"underside of base","method":"stamped in black","transcription":[{"value":"GLAISHER"}],"type":"label"}],"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.W.L.Glaisher Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-152564","uid":"adlib-agent-152564","uuid":"c20df94d-f096-3e0b-a9b5-6ddd12161fb7"},"summary_title":"Glaisher, J. 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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":"This is early example of Martin ware, signed and numbered by Robert Wallace Martin. The decoration follows principles of geometric design set out by Owen Jones in his Grammar of Ornament, 1856, and developed by Christopher Dresser in The Principles of Decorative Design, 1873. Dresser encouraged designs where \u2018power, energy, force or vigour  [form] the dominant idea [\u2026as] in the bursting buds of Spring\u2019. Wallace Martin seems to have picked up these ideas, both directly in this design, where the flowers seem to thrust upwards and outwards, pushing at the edges of the panels, and also in a later comment to Sydney Greenslade that he had sought to \u2018express the energy of nature in Spring\u2019(quotations in Haslam, 1978, p.42)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-108070","uid":"adlib-term-108070","uuid":"7e278258-23e3-3d5b-a4ff-ab5ecacb4bf3"},"summary_title":"19th Century, Late"},{"@link":{"type":"reference"},"admin":{"id":"term-15214","uid":"adlib-term-15214","uuid":"744af2c4-a2f2-37ad-bbf4-2cd00e91ed9b"},"summary_title":"Victorian"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-106395","uid":"adlib-term-106395","uuid":"7196d3f3-463d-30bd-998b-d51c42ebc1ea"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Middlesex"}],"summary_title":"Middlesex","type":"region"}]],"summary_title":"Fulham"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-37110","uid":"adlib-term-37110","uuid":"ef92f1a8-1400-3fa3-863f-e099781ea442"},"summary_title":"salt-glaze"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42825","uid":"adlib-term-42825","uuid":"858e5d17-b554-33d6-936f-25b16f72f39d"},"summary_title":"stoneware"}}],"measurements":{"dimensions":[{"dimension":"Diameter","units":"cm","value":"12.5"},{"dimension":"Diameter","units":"in","value":"5"},{"dimension":"Height","units":"cm","value":"23.3"},{"dimension":"Height","units":"in","value":"9.25"}]},"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-89480","uid":"adlib-term-89480","uuid":"f1ea518e-351c-3f42-b2a7-db0f8559fa2c"},"summary_title":"vase"}}],"note":[{"type":"history note","value":"Probably from the collection of Dr Glaisher, Trinity College, Cambridge, although not listed in Bernard Rackham's Catalogue of the collection"}],"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: describes and illustrates 1870s Martin ware of similar design","page":"68,69","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. Fig.42: a 9 inch vase, dated 1874, of similar shape with a design similarly based on geometric principles; also pp. 42-44: discusses and illustrates Martin ware pots of this period and shows diaper pattern samples from the Martins\u2019 studio.","page":"42,43","type":"reference"},"admin":{"id":"publication-3496","uid":"adlib-publication-3496","uuid":"a63082e7-deb8-30a6-b744-534fd7a77e40"},"summary_title":"The Martin Brothers, Potters"},{"@link":{"notes":"Ref: article  on the Martin Brothers Pottery by Cosmo Monkhouse, \u2018Some Original Ceramicists\u2019, The Magazine of Art, V, 1882, p.443 and Anon, \u2018Developments in Martinware\u2019 The Studio, XLII, 1908, pp.109-115","page":"48-55","type":"reference"},"admin":{"id":"publication-3498","uid":"adlib-publication-3498","uuid":"d5c03273-2573-365e-9668-869fccc4b9d0"},"summary_title":"English Art Pottery 1865-1915"},{"@link":{"type":"reference"},"admin":{"id":"publication-3495","uid":"adlib-publication-3495","uuid":"39579586-2410-312b-8a76-9245eed12060"},"summary_title":"A Catalogue of Martinware formed by Mr F.J. Nettleford, together with a short history of the firm of R. W. 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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. 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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. 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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. 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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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C 19","page":"49","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":"Publ. pp. 110-11 with ill. and information about Minton majolica.","page":"110-11","type":"reference"},"admin":{"id":"publication-1030","uid":"adlib-publication-1030","uuid":"9cf77d50-a614-3947-8d0e-919f695fe7b0"},"summary_title":"Fitzwilliam Museum Handbooks, English Pottery"},{"@link":{"notes":"Cf. pl. 78 (catalogue P 7) and text, a ewer of similar form with narrative panels painted by Thomas Allen in the  V & A Museum no.8107 & a-1863. 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. (Estimate \u00a33-5,000).","page":"78","type":"reference"},"admin":{"id":"publication-5708","uid":"adlib-publication-5708","uuid":"fef5aa8d-da71-3073-bede-2444a5eca8d2"},"summary_title":"British Ceramics and Glass, including Welsh Porcelain"},{"@link":{"notes":"Cf. fig.17, the more elaborate version in the V&A collection.","page":"August 1976, p.290","type":"reference"},"admin":{"id":"publication-400000008","uid":"adlib-publication-400000008","uuid":"b8a6f92e-14c2-3ce6-a405-44d348b6b191"},"summary_title":"Connoisseur"},{"@link":{"notes":"Cf. example in the V&A collection.","page":"116-117","type":"reference"},"admin":{"id":"publication-7709","uid":"adlib-publication-7709","uuid":"e854bc20-be5c-3636-9ff2-5c9e26a06261"},"summary_title":"Masterpieces of World Ceramics"},{"@link":{"notes":"Ref. Minton ewers, participation in exhibitions and  Majolica ware . p.367 for Minton bibliography.","page":"54,78,123","type":"reference"},"admin":{"id":"publication-7697","uid":"adlib-publication-7697","uuid":"78ab2e7d-b46a-3610-9abd-ab9839494cf3"},"summary_title":"Dictionary of Minton"},{"@link":{"notes":"Ref. Minton Majolica ware and Jeannest; notes a version of the Jeannest ewer and stand made and fired by Minton but decorated and exhibited by Thomas Goode at the London International exhibition, 1871.","page":"123,140.","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":"Ref. Jeannest; also information about yearmarks and majolica styles.","page":"24","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":{"notes":"Ref. 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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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