When Minton & Company of Staffordshire exhibited a new line of ceramics at The Great Exhibition of 1851 in London, the firm called it Palissy ware. The name came from a 16th-century Frenchman named Bernard Palissy, whose vividly colored, high-relief, lead-glazed plates, platters, and pitchers had inspired Minton’s new, French-born art director, Léon Arnoux.
The word majolica was also used to describe the ware, since it had some commonalities with the tin-glazed 16th-century Spanish and Italian earthenware of the same name. But even though Palissy ware was a more accurate description of Minton’s new line, the work quickly became known as majolica.
Before long there was a majolica renaissance in Europe and the United States. A great deal of it was made in Italy by firms such as Ginori and Cantagalli. In Germany, the Royal Porcelain Manufactory was known for its majolica.
What these companies shared was a vocabulary of images and style that was at once exuberant and uniform. All used bright colors splashed on reliefs of plants and animals. This was fun ware for the common man, and it sold as quickly as Minton and others could produce it.
Naturally Wedgwood and other Staffordshire stalwarts wanted a piece of this action, even though Minton had about a 10-year head start. Predictably, Wedgwood majolica was more formal than Minton’s and used humor with restraint. While some potteries were producing teapots in the shapes of cauliflowers, Wedgwood stuck mostly to basket-weave patterns and relief foliage on the outsides of its standard shapes.
In the United States, a similar fascination with majolica took hold around the same time as the Minton debut. As in England, potteries coated their ware with clear glazes, so that the pieces positively shined. Griffen, Smith & Hill was one prominent Pennsylvania manufacturer, who sometimes marked its pieces with “G.S.H.” or labeled them as “Etruscan Pottery.”
Other American companies known for their majolica in the second half of the 19th century were Morrison & Carr, Chesapeake Pottery, and Edwin Bennett. They produced relish dishes,...
One of the most popular majolica forms was the pitcher, which was sometimes designed to appear as if it had been formed from vertical slices of wide bamboo, with more slender bamboo branches employed for the pitcher’s handle. Other pitchers resembled ears of corn, while syrup containers were routinely festooned with fat sunflowers or clusters of lily leaves and flowers.
There were platters and plates, or course, with leaf-shaped plates being a collectible subcategory all its own (begonia leaves were especially popular). Sardine boxes and cigarette holders were also produced—many were topped by African-American figurals, known then as now as blackamoors. And animals from bulldogs to pigs were deemed the perfect shapes within which to store tobacco.
If there was a dark side to the sunny look of majolica it was the process of making it. In 19th-century America, young girls did much of the painting, usually earning as little as 25 cents for a 12-hour day. This was well before child-labor laws, so the idea that these children were expected to work long hours and handle lead glazes was not seriously questioned until the first part of the 20th century. Not surprisingly, the difficult conditions produced work that was often sloppy, as anyone who has seen a majolica vase with colors radically out of register or running down the side can attest.
By the 1890s, the majolica craze was ending in the United States—the technique looked a bit too baroque compared to the ascendant Arts and Crafts and Art Nouveau styles. While majolica persisted in Europe, pieces from the 20th century are generally thinner and feature less dramatic relief than those from the century before, which makes them less interesting to collectors.
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Forgotten Regal BeautiesWall Street Journal, September 29th
When I lived in London many years ago, I sometimes walked past Thomas Goode & Co., the Mayfair china emporium, where two stunning, 7-foot-tall gilded Majolica elephants, set on carved, tile-trimmed ebony stands and topped with gold-and-green ...Read more
Marvellous majolicaTelegraph.co.uk, September 29th
Twenty five years ago, in Britain, majolica was seriously unfashionable. Most ceramic dealers and collectors ignored it, feeling that this flamboyant expression of High Victorian taste was totally out of step with minimalist "modern" aesthetics. Not so...Read more
Freeman's Auction in PhiladelphiaMainline Today, September 28th
GOING ... GOING ... GONE: Freeman's Oct. 7 auction of English and Continental furniture and decorative arts includes more than 30 pieces of exuberant, extravagant and almost certainly expensive majolica. Collected by philanthropist Michael Coslov, the ...Read more
Main Line Banter: September shortcuts; looking back at 2006Main Line, September 25th
For example, we rated the following as our Top 10: Alba's, Christopher's, Duling-Kurtz House, General Warren Inne, Kimberton Inn, Majolica, Primavera, San Nicola (2 locations) and Twin Bays. San Nicola is now one, and Twin Bays is gone. (Next week, we...Read more
New Kids on the BlockNew York Times (blog), September 24th
At another stall, he once scored an extremely rare Gio Ponti majolica vase. “One of three in the world, the other two are in museums,” he says proudly. Demachy sold it to one of Italy's most prominent Ponti collectors, who is currently creating a...Read more
What's It Worth: Majolica vase, desk-bookcaseRichmond Times-Dispatch, September 17th
jardinière and pedestal were made between 1900 and 1925; together they are worth about $600. QUESTION: Please tell me about my vase that sits on a matching stand that I recently inherited from a deceased relative. I have been told that it is...Read more
Antiquing Returns to Riverfront Park this WeekendThe Kittanning Paper, September 9th
Dan Sukala displays his table of majolica pottery during the 2013 “Antiquing Along the Allegheny” event in Kittanning Riverfront Park. The next event will be held this weekend. (submitted). Quality antiques, hand crafts and food will be featured at the...Read more
Lane loved to paint coves and harbours of Atlantic CanadaWaterloo Record, September 5th
A. Your figural majolica pitcher was made by the Frie Onnaing pottery, named for the city, Onnaing, in northern France. This pottery was established in the 1800s and continued producing work until about 1938. Majolica is defined as a heavier pottery, ...Read more