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Eight tiny rim chips, some light surface
rubbing. Amazingly clean and bright given the early
date. . Style/technique: Pictorial print A charming 18th century scene of a group of
children playing in the grounds of country house
in a Rococco style border. One of Mintons
earliest picture series known as 'Watteau
Subjects' being in the style of the French
artist Jean-Antoine Watteau and also echoing the
earliest transfer printed tiles of Sadler and
Green. Well printed in a very pleasing, warm
rich blue. This series was reintroduced by Mintons Ltd
in the 1880s examples of which are seen fairly
frequently but this is a very early example from
around 1850. At pattern number 12 it would have
been one of the first series of wall tiles
introduced by Minton & Co and probably owes
more to Michael Hollins than Herbert Minton,
Hollins ran the tile business from 1845 under
the name Minton, Hollins & Co. Made in
smaller quantities and with more years to
survive these are very rare, perhaps 1:1000
compared to the later examples. Amazing though
it may seem but the Minton & Co 1850 tiles
are often better printed than the 1880s Mintons
Ltd examples. Prosser's Patent was the original patent for
machinery to press dry clay in to ceramic shapes
using a press and mould the original intent
being the manufacture of buttons. Rather than
cut tiles out of slabs of wet clay dry or dust
clay was used. The patented process greatly
helped with the drying time before firing and
enabled more consistent shrinkage and dimensions
as well as generally speeding up the process of
making tile blanks. Prosser's patent was taken
out in 1840 and lasted for fourteen years,
Minton & Co would have ceased putting
Prosser's name on their tiles as soon as the
patent expired. Verso very clean, embossed Prosser's Patent,
Minton & Co, Stone on Trent. The image is a little oversize rather than
cropped close to the edges so that the edges can
easily be seen and any chips etc can be quickly
spotted. Other marks described are usually not
visible at all when the tile is viewed straight as
one normally sees it and can only be seen with a
critical eye when the tile is tilted to catch
imperfections in reflected light. For more details
of how we describe marks see Condition.
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