|
:''This article refers to pottery with a clear lead glaze. For pottery with an opaque white glaze decorated in colour, see Tin-glazed pottery or Maiolica for Italian Renaissance wares'' Victorian majolica is lead-glazed earthenware pottery made in 19th century Britain, Europe and the USA with moulded surfaces and colourful clear glazes. ==History== Victorian majolica was originated by Mintons Ltd, who exhibited it at the Great Exhibition of 1851 under the name Palissy ware. The debt to the eccentric 16th century potter Bernard Palissy is obvious from its naturalistic plant and animal motifs molded in relief and splashed with bold colour and clear glazes. Mintons had for some time been making tin-glazed pottery (which is opaque, white and shiny and painted in colour) somewhat in the style of Renaissance Italian maiolica, which they called ''majolica ware'', anglicizing the Italian ''maiolica''. The ''Illustrated London News'' reported with approval of Minton's work at the Paris Exposition Universelle (1855) :
Despite this reminder, the public came to call Minton's Palissy Ware ''majolica ware''; ''Palissy ware'' dropped out of use and ''majolica'' stuck. In the 1880s, the curators of the South Kensington Museum (now the V&A) tried to clear up the confusion by reviving the Italian pronunciation ''maiolica'' for Italian tin-glaze. 〔(M is for Maiolica/majolica, Victoria and Albert Museum )〕 Wedgwood began to manufacture majolica about ten years after Mintons. Wedgwood's glazes and modelling were denser and more formal than Minton's, but there were many pieces that displayed the naturalism and humour of Minton shapes. Wedgwood's majolica included cachepots, jugs, candlesticks, cheese bells, umbrella stands, sardine boxes, plates in naturalistic patterns, bread trays, etc. In Wedgwood's "greenware" the green glaze emphasizes the low relief patterning, typically of basketwork and foliage. Numerous smaller factories in the Staffordshire Potteries specialised in such green majolica wares in which the translucent glaze brought out the low relief of the cast body: some, like Wedgwood, marked their majolica with impressed stamps. Majolica was influenced by the design of the old "Cauliflower" and "Pineapple" teapots that had been made by Thomas Whieldon, Wedgwood and other 18th-century Staffordshire potters. Both English and American majolica potters reproduced the "Cauliflower" pattern and other raised fruit, vegetable, leaf, and berry patterns, with green, yellow, pink, brown, light blue and purple-blue glazes. There is also a teapot of yellow corn and green leaves, similar to the old Whieldon "Pineapple" teapots, and a teapot, jug and sugar bowl of pink coral and green seaweed with accents of brown and blue, marked "Etruscan Majolica." Many late 19th-century majolica designs had rustic motifs with backgrounds of basketry and wooden-bound buckets decorated with moulded flowers, birds, fish and animals. Handles were made to resemble tree branches, rose stems and twined flowers and leaves. Plates, jugs, teapots and other articles were moulded with the shapes of wild roses, lily pads and herons, begonia leaves, shells, coral, seaweed, corn and bamboo stalks, cabbage leaves, strawberries, ferns and sprays of flowers, borders of basketry and oriental motifs. Many potteries responded to the popularity of majolica. * The Trent Pottery, George Jones and Sons, made majolica cupids, shells, dolphins, birds, figurines and coral designs in numerous shapes. Their mark was a monogram of the initials "G.J." joined together. A beehive bread dish with a cover has a design of wild roses against a background of basketwork and has the Trent Pottery mark. Also flowerpots were made in bright colours and with raised designs of natural flowers. * Royal Worcester made figurines, shell vases, wall pockets etc. marking most of their output with an impressed crown over rose backstamp, using a distinctive paler blue glaze. * William Brownfield made wall pockets, jugs, game pie dishes, table ware etc. Some wares were impressed 'W B'(in a knot). * T. Furnival and Sons made jugs and plates with raised oriental designs, which had borders of wickerwork in bold colour and glaze. Their mark, "Furnival," is impressed in the ware. *Edward Steele of Hanley manufactured jugs, flower vases, teapots, dessert services also made majolica and centrepieces with fine colouring. * Edward Banks and Thomas Thorley of Hanley manufactured bread trays, cheese stands, jugs, dessert services, trays, teapots, egg- holders and flowerpots. One of their dessert services has a chocolate coloured ground and a raised naturalistic design of ivy, ferns and anemones. * Davenport and Banks (or Davenport Beck and Company) made many varieties of majolica. Their work was marked with a castle and the letters "D.B. & Co. Etruria" within an oval garter bearing the words "Trade Mark." * Joseph Holdcroft of Longton. * Brown-Westhead, Moore & Co * Copeland & Garrett., successors to Josiah Spode * Thomas Forester. * Samuel Lear. * Poole and Unwin. * S.Fielding and Co., The Railway Pottery, Stoke on Trent * Daniel Sutherland and Sons. * James Woodward * J.W. John Adams and Co., Hanley *Edge, Malkin & Co, Burslem 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Victorian majolica」の詳細全文を読む スポンサード リンク
|