Ewer
1858 (made)
| Artist/Maker | |
| Place of origin |
Object Type
This jug was made entirely for show. Renaissance Revival forms and decoration suggested that the owner was a person of education and taste, and this jug, an example of Minton's advanced technology, would impress guests as evidence of superior understanding. Renaissance Revival design was increasingly popular during the mid-19th century, not least as a result of the teaching in design schools, headed by the one at South Kensington. This jug, which was made with a matching stand, was modelled directly on a French example also in the Museum's collections.
Design & Designing
Under the art director Léon Arnoux (1816-1902) the Minton company was interested in design and ceramic technology of many periods and cultures. In the late 18th century and the 19th, French Renaissance wares became increasingly popular among collectors and museums in France and Britain. The greatest name in French Renaissance ceramics was that of Bernard Palissy (1509/1510-about 1590), among whose many technological advances was the making of modelled wares, covered with lead glazes, richly coloured with metal oxides.After they had been introduced in about 1849, Arnoux first exhibited wares in this technique in 1851, calling them 'Minton's Palissy-wares'. Gradually they became known, inaccurately but universally, as Majolica ware, an anglicisation of the Italian term maiolica, which described the very different tin-glazed, painted earthenwares.
Time
First known as 'Palissy-ware', Minton's majolica ware was launched at the Great Exhibition in London in 1851 and then shown in Paris in 1855, when it created 'the greatest sensation among Parisian connoisseurs'. There the company won a Grand Medal of Honour.
Materials
Minton's Majolica ware is made of inexpensive earthenware that could be cast into extravagant shapes using conventional technology, coloured by relatively unskilled painters, fired only twice and mass-produced while retaining an individual and artistic appearance. It was one of the most popular of Victorian ceramic types.
This jug was made entirely for show. Renaissance Revival forms and decoration suggested that the owner was a person of education and taste, and this jug, an example of Minton's advanced technology, would impress guests as evidence of superior understanding. Renaissance Revival design was increasingly popular during the mid-19th century, not least as a result of the teaching in design schools, headed by the one at South Kensington. This jug, which was made with a matching stand, was modelled directly on a French example also in the Museum's collections.
Design & Designing
Under the art director Léon Arnoux (1816-1902) the Minton company was interested in design and ceramic technology of many periods and cultures. In the late 18th century and the 19th, French Renaissance wares became increasingly popular among collectors and museums in France and Britain. The greatest name in French Renaissance ceramics was that of Bernard Palissy (1509/1510-about 1590), among whose many technological advances was the making of modelled wares, covered with lead glazes, richly coloured with metal oxides.After they had been introduced in about 1849, Arnoux first exhibited wares in this technique in 1851, calling them 'Minton's Palissy-wares'. Gradually they became known, inaccurately but universally, as Majolica ware, an anglicisation of the Italian term maiolica, which described the very different tin-glazed, painted earthenwares.
Time
First known as 'Palissy-ware', Minton's majolica ware was launched at the Great Exhibition in London in 1851 and then shown in Paris in 1855, when it created 'the greatest sensation among Parisian connoisseurs'. There the company won a Grand Medal of Honour.
Materials
Minton's Majolica ware is made of inexpensive earthenware that could be cast into extravagant shapes using conventional technology, coloured by relatively unskilled painters, fired only twice and mass-produced while retaining an individual and artistic appearance. It was one of the most popular of Victorian ceramic types.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 2 parts.
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| Materials and techniques | Earthenware with majolica glazes |
| Brief description | Ewer and stand of glazed earthenware, modelled by Hamlet Bourne, Minton & Co., Stoke-on-Trent, 1858 |
| Physical description | Ewer and stand of glazed earthenware. |
| Dimensions | Dimensions checked: Measured in centimeters 07/07/1999 and in 2012 by T. Bloxham Ewer: max. height=28.7; max. width=23.8; max. depth=16.5; weight=1.24 kg Stand: Length 30.3; Width 25.3; height 7.8; weight 1.02 kg |
| Marks and inscriptions |
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| Gallery label |
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| Object history | Modelled by Hamlet Bourne; made by Minton & Co., Stoke-on-Trent, Staffordshire Modelled after a Palissy jug in the Soulages collection |
| Subject depicted | |
| Summary | Object Type This jug was made entirely for show. Renaissance Revival forms and decoration suggested that the owner was a person of education and taste, and this jug, an example of Minton's advanced technology, would impress guests as evidence of superior understanding. Renaissance Revival design was increasingly popular during the mid-19th century, not least as a result of the teaching in design schools, headed by the one at South Kensington. This jug, which was made with a matching stand, was modelled directly on a French example also in the Museum's collections. Design & Designing Under the art director Léon Arnoux (1816-1902) the Minton company was interested in design and ceramic technology of many periods and cultures. In the late 18th century and the 19th, French Renaissance wares became increasingly popular among collectors and museums in France and Britain. The greatest name in French Renaissance ceramics was that of Bernard Palissy (1509/1510-about 1590), among whose many technological advances was the making of modelled wares, covered with lead glazes, richly coloured with metal oxides.After they had been introduced in about 1849, Arnoux first exhibited wares in this technique in 1851, calling them 'Minton's Palissy-wares'. Gradually they became known, inaccurately but universally, as Majolica ware, an anglicisation of the Italian term maiolica, which described the very different tin-glazed, painted earthenwares. Time First known as 'Palissy-ware', Minton's majolica ware was launched at the Great Exhibition in London in 1851 and then shown in Paris in 1855, when it created 'the greatest sensation among Parisian connoisseurs'. There the company won a Grand Medal of Honour. Materials Minton's Majolica ware is made of inexpensive earthenware that could be cast into extravagant shapes using conventional technology, coloured by relatively unskilled painters, fired only twice and mass-produced while retaining an individual and artistic appearance. It was one of the most popular of Victorian ceramic types. |
| Bibliographic reference | Bryant, Julius. Art and Design for all: The Victoria and Albert Museum . London: V&A publishing, 2011. p 183. ISBN 978 1 85177 666 5 |
| Collection | |
| Accession number | 4730&A-1859 |
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| Record created | July 1, 1999 |
| Record URL |
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