Style: Classical Studio Tiles
Technique: Painted
Maker: Mintons Studio
Dimensions: Each tile 6" x 6"
Date: 1872 (circa)
Price: £2450 for the set.
A most intriguing group of tiles, designs by
John Moyr Smith frequently or less frequently
seen as printed tiles from Mintons or Minton,
Hollins & Co. Painted by hand in four
colours, very well painted and an interesting
choice of colours.
Represented are examples of three series; The
Idylls of the Kings, The Waverley Novels and
Authors and Their Works. In each case the format
differs from that found in the printed series.
Of particular interest is that two series were
made by Mintons and the third by Minton, Hollins
& Co..
A fascinating group of tiles we would like
them to be on public display or in the hands of
someone who has the interest to research them
however a lofty aim that may be it is usually
unrealistic as museums have more objects to
display than space allows and there is much we
do not know about many antique art objects. So
the group is offered together, for those with
interest in part of the set let
us know. The quality of painting and that
the colour range was both fashionable and
amenable to printing at the time offers the
tempting hypothesis thet Moyr Smith painted them
himself in order to demonstrate to Mintons how
his line drawings would appear on tiles.
Scroll down for large
images.
The tiles are finely painted and show little
indication of previous use, there is no evidence
of fixing apart from some black stain on two
edges of most tiles. No recognisable adhesive or
remains/marks thereof, no evidence of fixing by
nails as usual in wooden frames and furniture.
The black marks could possibly be the remains of
bitumen however it is difficult to comprehend
how the tiles could have been well cleaned of
such or indeed other adhesive given other
factors.
The decoration is painted overglaze in four
colours, overglaze decoration is subject to wear
and other damage in the passing of time however
there is no evidence of wear or damage to the
painting, no cleaning marks, no surface chips
save on the broken Chaucer tile. There are some
minor marks of rubbing by the frames but they
were in fairly modern frames and there is no
evidence of contemporary frames. For the most
part there is very little stain in the crazing
what there is would simply be atmospheric soot
from candles, gas lights etc that was part of
everyday life
So there is little hard evidence to indicate
what the original use of the tiles was or how
they have been preserved but it seems very
little happened to them for many years, maybe in
excess of one hundred years.
The designs have been taken from the original
drawings rather than been copied from the
printed examples., the Authors series follows
the originals whereas the printed series are
reversed left to right aka mirror image.
That all are apparently produced by Mintons
Studio suggests that Mintons had the opportunity
to license the 'Authors' series but declined and
it was later taken up by Minton, Hollins &
Co..
The grip patterns are mostly the offset grid
just one has a named Mintons verso.
I have two possible explanations for the
facts as I find them, (i) that the tiles were
made by Mintons Studio on commission for a
particular job/client and (ii) that the tiles
are samples or trial pieces prior to the
engravings being produced for the mass produced
printed series, I believe the latter is more
likely explanation. The lack of signs of use
suggests that they were not used in a commission
but that they were stored in a safe place for
most of their life as can and does happen to
unused samples and test pieces.
It should be noted that the colours used are
amenable to printing process of the 1870s
although what may be perceived as flesh tones in
pink would have readily been interpreted as
flesh tones in tans. It should also be
understood that Mintons had two distinct tile
operations, the earthenware works produced
printed tiles in the limited range of colours
available for printing, the studio produced
painted tiles in all manner of colours.
It is tempting to wonder if Moyr Smith
painted them himself, the original artwork for
such designs is line art and it would be
reasonable to show them in colours that could be
readily mass produced in order to sell the
designs to Mintons. Lack of a signature means
nothing, Moyr Smith would not presume to sign
his own work as a test piece, manufacturers only
permit artists' signatures on work when they
judge that it adds to the marketability of the
product and does not dilute the brand. Mintons
wanted customers to think of the tiles as
Mintons' tiles not Moyr Smith's tiles but Smith
was a famous artist published in Punch magazine
and his name had market recognition and added
value.
Whilst I investigate further I present these
tiles to promote discussion and hopefully
advance my understanding, and offers may be
considered for the group prior to specific
valuations. Splitting groups of tiles is always
a difficult decision there for certain are times
when groups add considerably to the knowledge,
understanding and experience of those able to
enjoy however alternatively tiles spread about
can spread the pleasure. I do believe that this
group may be of significance to a specialist
collector or museum so I shall mull it over, any
suggestions please contact me. Different series
have different levels of appeal being rarer and
so on.
Four tiles are are fine to near perfect
condition, two are excellent/very good, Dabte
will clean up a little better, Kenilworth has a
reglued corner, Chaucer has been in four parts
and glued/restored.