Gorgeous Deco Shell Pink with Swirled Gild edge by Minton. According to my research, this collection was only produced from ...
moreGorgeous Deco Shell Pink with Swirled Gild edge by Minton. According to my research, this collection was only produced from 1948-1959. Authentic mid-century collection here.
Markings: "Mintons, Est 1793, England" Dimensions: H 10.75" x W 10.75" (Large Plate) H 2.5" x W 4.25" (Teacup) Condition: Large Plate Count - 12, Bowl Count - 13, Medium Plates - 12, Saucers- 11, Small plate - 12, Teacups- 12. Sugar dish is missing the lid. Some slight wear on bottom of items.
Mintons was a major ceramics manufacturing company, originated with Thomas Minton (1765–1836) the founder of "Thomas Minton and Sons", who established his pottery factory in Stoke-upon-Trent, Staffordshire, England, in 1793, producing earthenware. He formed a partnership, Minton & Poulson, c.1796, with Joseph Poulson who made bone china from c.1798 in his new near-by china pottery. When Poulson died in 1808, Minton carried on alone, using Poulson's pottery for china until 1816. He built a new china pottery in 1824. The products are more often referred to as "Minton", as in Minton china.
From the mid-1890s onwards, Mintons made major contributions to Art Nouveau ceramics with a fine range of slip-trailed majolica ware, many designed by Marc-Louis Solon's son Leon Solon and his colleague John Wadsworth. Leon Solon was hired by Mintons after his work was published in the hugely influential design magazine The Studio and he worked for the company from 1895–1905, including a brief stint as Art Director. Solon's early designs for Mintons were strongly influenced by the Viennese Secessionist art movement, founded by Gustav Klimt and others, and so became known as Secessionist ware.
The Secessionist range covered both practical and ornamental wares including cheese dishes, plates, teapots, jugs and comports, vases and large jardinières. The shapes of ornamental vases included inverted trumpets, elongated cylinders and exaggerated bottle forms, although tableware shapes were conventional. Early Successionist patterns featured realistic renderings of natural motifs—flowers, birds and human figures—but under the combined influence of Solon and Wadsworth, these became increasingly exaggerated and stylised, with the characteristic convoluted plant forms and floral motifs reaching a peak of extravagance around the turn of the 20th century. less
10.0ʺW × 10.0ʺD × 1.0ʺH
FairHas lived a "full life" and has a distressed look with noticeable wear
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