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The texture and bright colours of the finished tile echo Minton\u2019s coloured lead-glazed \u2018Majolica wares\u2019, introduced to great acclaim at the Great Exhibition of 1851. Majolica ware tiles were also popular in the latter part of the century, but generally used for wall or fireplace decoration."},{"value":"Tile making increased dramatically in 19th century Britain, encouraged by church building and restoration and by new concerns about public health. 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Two handles modelled as snakes, coil on the rim and curve down to meet the rounded shoulders. Painted in dark blue on a white ground with a frieze of putti playing on swags linked by two bearded masks below the handles. The frieze is bordered by Renaissance-style scrolling foliage and motifs, also on the neck and foot; the handles have a blue snake-skin pattern painted onto the cream clay. The underside has an unglazed foot-rim and a deep indentation into the stem."}],"exhibitions":[{"@link":{"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-2046","uid":"adlib-exhibition-2046","uuid":"3c0cfca9-2b18-38eb-8224-69831f794488"},"summary_title":"Alfred Stevens, 1817-1875"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-2370","uid":"adlib-exhibition-2370","uuid":"2d49a842-0f2f-31d5-bd38-16ad210e3a69"},"summary_title":"The Victorian Vision of Italy"}],"identifier":[{"accession_number":"C.42-1972","primary":true,"type":"accession number","value":"C.42-1972"},{"priref":"75036","type":"priref","value":"75036"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75036","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75036"}],"inscription":[{"location":"underside of base","method":"impressed","transcription":[{"value":"MINTON"}],"type":"factory mark"},{"description":[{"value":"a horizontal line crossing 'Z'"}],"location":"underside of base","method":"impressed"},{"location":"underside of base","method":"impressed","transcription":[{"value":"A"}],"type":"date mark"},{"location":"underside of base","method":"impressed","transcription":[{"value":"658"}],"type":"mark"},{"location":"underside of base","method":"impressed","transcription":[{"value":"B"}],"type":"mark"},{"location":"underside of base","method":"two rectangular paper labels handwritten in black ink","transcription":[{"value":"Vase, MINTON, designed by Alfred Stevens. Date mark [crossed Z] for 1864. cf. H. Wakefield Victorian Pottery pl.42: an almost identical vase in V&A, same date \u00a34.00 Portobello Dec. 1966.  \/  See Stannus. H Alfred Stevens and his Work, London, 1891, pl. XLVII - the design for the frieze of this vase with putti, masks etc. reproduced (also details in other plates of V & A M Minton-Stevens vases)."}],"type":"label"},{"location":"loose inside vase","method":"rectangular paper label, typewritten","transcription":[{"value":"Ex Leicester, The Victorian Vision of Italy, Cat. 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He spent several years studying in Italy, before working for Minton c.1859-1862. This design, which he originally produced in 1861, illustrates his interest in echoing the decoration of Italian Renaissance maiolica. Stevens produced other similar designs using this shape of vase, but he may not have designed the shape as it was in use before he joined the company."},{"value":"Minton launched wares \u2018coloured in the Majolica style\u2019 at the Great Exhibition of 1851, to great acclaim. The new product took inspiration from the earlier Italian maiolica, tin-glazed earthenware with painted decoration, but used brightly coloured lead-glazes and generally favoured  sculptural forms rather than finely painted decoration. A few Minton designers, however, such as Stevens and the Minton Art Director, L\u00e9on Arnoux, sought closer imitation using enamels and shapes based on Urbino models (as here), though such work was never so widely produced."},{"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. 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From the mid 1830s, new lines in encaustic and printed tiles, figures and ornamental wares were introduced, and in 1844 the factory was commissioned to produce floor tiles to Pugin\u2019s designs for the new Palace of Wedminster. The 1840s also saw the introduction of dust-pressed tiles, made by pressing powdered clay into a moulding box, building on a process patented by Richard Prosser for making buttons. Dust-pressed tiles dry more quickly and are less likely to warp. Moreover, by introducing dies into the moulding box, a single press can produce relief decoration and a moulded back - a characteristic feature of dust-pressed tiles, which aids  bonding with mortar. In 1845, Herbert Minton took two nephews, Colin Minton Campbell and Michael Daintry Hollins, into partnership. In 1868, following a dispute, Hollins left to set up a tile works trading as Minton, Hollins & Co., which continued successfully into 1950s, before merging with Johnson tiles. 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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. 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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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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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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. 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