A Tweeted History of Minton (WHoM:13)

Our weekly #WadsworthsHistoryofMinton Twitter round-up has reached week 13 – hopefully not unluckily for you! This most recent multitude of “Minton” manuscript missives from @MintonArchives mention Morris (William), massive majolica monuments, and much more – with no further alliteration to be found, we p-p-p-promise!

Catch up with previous A Tweeted History of Minton posts using the links below:

WHoM:1
(01/04/20 – 07/04/20)

WHoM:2
(08/04/20 – 14/04/20)

WHoM:3
(15/04/20 – 21/04/20)

WHoM:4
(22/04/20 – 28/04/20)

WHoM:5
(29/04/20 – 05/05/20)

WHoM:6
(06/05/20 – 12/05/20)

WHoM:7
(13/05/20 – 19/05/20)

WHoM:8
(20/05/20 – 26/05/20)

WHoM:9
(27/05/20 – 02/06/20)

WHoM:10
(03/06/20 – 09/06/20)

WHoM:11
(10/06/20 – 16/06/20)

WHoM:12
(17/06/20 – 23/06/20)

“Herbert Minton and Colin Minton Campbell were among the first industrialists to adopt this policy and the man they chose for the job, Léon Arnoux, was not only the first art director but one of the most remarkable men the industry has produced.”[139/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 24, 2020

The Morris stand at the 1862 exhibition was not the only pointer to new trends in art & design; the simplicity & harmony shown in a large collection of Japanese bronzes, lacquer, & porcelain also attracted the interest of artists & collectors.[140/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 25, 2020

Until the 1850s Japan had been virtually closed to the rest of the world for over a century & it was exposure to exotic objects such as these that began the popularisation of Japanese art, leading to its highly fashionable status in the 1870s.[141/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 25, 2020

In 1862, however, there was little evidence that Japanese art was influencing pottery design; Minton’s display at the exhibition was more varied than before but concentrated on developing and perfecting the ideas introduced in 1851 and 1855.[142/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 26, 2020

“At the [stand’s entrance] were 2 candelabra of Palissy ware in the Greek style. They stood 9 feet high & each had 10 globes or burners. In the cases were the choicest examples of porcelain & parian figures & vases which were varied in style.”[143/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 26, 2020

(A stereo view of Minton’s exhibition stand features 2 large candelabra but we’re not sure if they’re the correct pieces: https://t.co/Q3GRAQ9Tx8 They were also known as gaseliers which we’ve blogged about many times! https://t.co/zTAtIcM4dz ) [144/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 26, 2020

The most remarkable of Minton’s 1862 exhibits stood in the main hall of the exhibition. The St. George Fountain – “that spectacular tour de force” – was 36 feet high & 39 feet in diameter & was surmounted by a figure of St. George & the Dragon.[145/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 27, 2020

The central fountain (which carried the St. George & the Dragon figure) was surrounded by smaller fountains around the edge; these played into the basin among a variety of lions, figures, and vases “reminiscent of the fountains of Versailles”.[146/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 28, 2020

It was designed by John Thomas – who sadly died before it was completed – and was a tremendous technical undertaking, representing immense skill on the part of all those who were involved in its production. [147/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 28, 2020

There would have also been many hours of anxiety for Léon Arnoux who, as Art Director, was ultimately responsible for seeing the fountain through the many production stages to its successful creation.[148/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 29, 2020

(You can find a chromolithograph of Minton’s St. George’s Fountain – and a detailed description on the reverse – in the Archive as SD 1705/MS196, digitised for our online catalogue here: https://t.co/X7wF3D7yH8 ) [149/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 29, 2020

“The year following the exhibition saw the introduction of one of the most famous of Minton’s technical triumphs. It is usually known as ‘acid gold’ but is sometimes referred to as ‘acid borders’ since it most often used for border designs.” [150/] #WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 30, 2020

“In 1862 an employee of Minton, James Leigh Hughes, was granted a patent for ‘his improvements in producing ornamental patterns in gold & colour on porcelain, earthenware, glass & enamel'” which had been developed from a method of etching on glass.[151/]#WadsworthsHistoryofMinton

— The Minton Archive (@MintonArchive) June 30, 2020