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MINTON

Messrs. Minton, of Stoke, in Staffordshire, manufacture pottery, porcelain, and majolica. By this latter, that massive ware, of bold design and bolder ornamentation and positive colours, principally blues, yellows, and greens, Minton’s at the Paris Exhibition of 1855 created quite a sensation, and won universal admiration.

Ten years before the commencement of the nineteenth century Thomas Minton established his factory at Stoke-upon-Trent. Only earthenware was manufactured at Stoke Works up till 1798, chiefly ordinary white ware, ornamented with blue, in imitation of Nankin china. From about 1799 down to 1811 a semi-transparent china was also made, but was abandoned as unprofitable. In 1817 Mr. Minton’s two sons entered the firm. In 1821 the manufacture of china was again resumed; about this time, too, a very marked improvement was noticeable in Minton’s printed earthenware; the body was whiter, and the glaze was more highly finished.

We give the two early marks of the firm down to 1837. These were usually in blue, and very often had a number underneath. In these earlier examples the flowers and other decorations were painted. They very shortly became mostly printed designs, except in elaborate pieces, and the personal character of the ordinary china grew, in consequence, of less interest.

Sometimes “M. and C.” (the C. standing for Company), with an impressed stamp “BB.” or “BB. New Stone,” occurs. BB. signifies “best body.” A design of passion-flowers printed in blue is a favourite subject.

In 1836 Mr. John Boyle was admitted a partner, on the death of Thomas Minton; the firm became then Minton and Boyle, and the marks were accordingly changed. After continuing for five years Mr. Boyle went over to the Wedgwoods.

Mr. Minton was subsequently joined by his nephews, M. D. Hollins and Colin Minton-Campbell. The second Minton seems to have been of considerable business ability. In his father’s day fifty hands were employed at Stoke, but in his time the factory employed no less than 1,500. The various branches he developed were earthenware, and ordinary soft porcelain, hard porcelain, parian, coloured and enamelled tiles, mosaics, Della Robbia ware, majolica, and Palissy ware.

It will be seen from the accompanying illustrations how highly decorative Minton porcelain is. The vase we reproduce was one of the most admired specimens of china in the Paris Exhibition of 1867.

What is known as the ermine mark (the dark trefoil with the three dots), either indented or painted in gold and colours, has been used on porcelain since 1851, and since 1865 the word “Minton,” impressed, has been used for both china and earthenware.

In 1868 the globe, with the word “Minton” across it, was first used, and all the firm’s works subsequent to that date are so stamped. In 1872 the design was registered, and frequently a rhomboidal stamp occurs either without or in addition to the globe mark, which has the letter R in the centre, denoting that the particular pattern of china is “Registered” as a design. This rhomboidal mark occurs on chinas other than Minton’s, and is a feature of modern china.

“Minton, Hollins & Co.” are a firm at Stoke largely engaged in manufacturing encaustic and majolica tiles. They are an offshoot of the main branch.

The illustration we give of the lion ewer is a fine example of Minton’s reproduction of the celebrated Henri II. faÏence. This wonderful ware is of distinct character and ornamentation, differing from every other kind of pottery. It was made at Oiron, in France, from 1524 to 1550. There are less than one hundred known pieces. Five pieces are in the Victoria and Albert Museum. Two are in the Louvre. Some of the pieces are valued at over £3,000 each. Who shall say that there is no romance in old china and pottery when vases and ewers, tazzas and salt-cellars, have pedigrees as long as a race-horse’s, and whose whereabouts are as well known as that of a reigning prince?

The plaque of painted majolica is a good specimen of what Minton can do. It was made about 1865, as was the lion ewer alluded to on p. 184, and the candelabrum is also of the same period. There is a fine fountain executed in Minton majolica; it is 36 feet high and 39 feet in diameter. At the summit there is a group, larger than life size, of St. George and the Dragon. It was one of the features of the International Exhibition of 1862; it now embellishes the scanty grass plot in front of the Bethnal Green Museum.

Some fine old SÈvres pieces have been copied by Mintons, and great fidelity has been shown in reproducing the old ground colours of rose-du-Barri, gros-bleu, turquoise, and pea-green. Chinese porcelain has been imitated with especial success. The most notable artistic achievement is the pÂte-sur-pÂte work, by M. Leon Solon. The coloured background is worked upon in white clay, and the delicate modelling of figures in this material is of great artistic beauty. Each result is a personal creation of the potter which cannot be duplicated.

SALE PRICES.

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