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Examples of these are seen on Minton majolica pieces, with names such as Hugues Protat, Paul Comolera and John Henk, all major artists at Minton.

Unattributed English majolica was decorated with many patterns similar to marked pieces.

Majolica On Both Sides of the Atlantic by Marilyn G.

One of the most whimsical pieces was the “Punch and Toby” bowl, with representations of four clown-like heads of Punch and four supporting figurers of Punch’s dog, Toby.

Most frequently seen in shops and antiques shows are green salad plates with raised designs of different leaves.

With Thomas Minton’s death in 1835, his son, Herbert, became president of Minton & Co., thereby leading to the production of Victorian majolica. In 1851, Herbert Minton and his French ceramic chemist, Leon Arnoux, presented “majolica” to the world of ceramics.

It was well received at the Great Exhibition at the Crystal Palace in London.

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The excitement generated by the richly colored majolica inspired Minton artists to develop art revival styles parallel to those of the Renaissance, Palissy design, Gothic revival and medieval styles, naturalism (by far the most prolific), oriental and Islamic styles, and figural pieces, both human and mythological.

Minton’s lead and tin glazes were impermeable to damp English weather: many pieces, in the shapes such as cache pots, urns, fountains, umbrella stands for large birds and animals, were made for the garden or conservatory.

Popular patterns were pond lilies, storks, corn, pineapple, leaves, blackberries, roses, fish and the ubiquitous shell-and-seaweed.

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