A look at the design, market and legacy of Victorian pottery

Friday, February 17, 2023

Léon Arnoux and the Invention of Victorian Majolica

If it wasn’t for Léon Arnoux, there would probably be no Victorian majolica. 

Joseph François Léon Arnoux was born in 1816 in Toulouse, France into a family of potters. His father Antione owned a porcelain pottery in St. Sernin in Toulouse and had the resources to send his eldest son, Léon, to school for engineering and design. After graduation, Léon began working with his father in St. Sernin but the unstable French political atmosphere and the financial panic that ensued led to the bankruptcy of the pottery. The following chaos of the French Revolution of 1848 led him to leave France and explore the potteries of England. There he toured the factories of Staffordshire studying technique until he eventually landed at Minton. 

Pottery at Toulouse owned by Antoine Arnoux

Joseph François Léon Arnoux c.1848

Herbert Minton

Colin Minton Campbell worked with Arnoux at Minton
 after his uncle's death in 1858 

Minton factory

Arnoux was first hired at Minton as a Superintendent in June 1849 to explore the development of hard-paste porcelain to compete with the work done at Sèvres and Meissen on the continent. His training at Sèvres as an artist and designer as well as work at his father's factory made him ideal for such an assignment. His work impressed Minton sufficiently for him to name him Art Director in charge of both the technical and artistic direction of the pottery. With porcelain development unable to compete with that already in the market he turned his attention to earthenware. 

His initial work with earthenware at Minton was on their dust-pressed Prossers Patented tiles. 

Minton majolica glazed Prossers Patented tile

From here he moved onto copying the opaque tin-glazed colored terracotta of the 15th century Italian Renaissance and the work of the Della Robbia Workshop. He accompanied Herbert Minton and Colin Minton Campbell on a trip touring Europe for inspiration on this new line. The tin-glazed ware that resulted he called majolica, a line similar to what we refer to as maiolica today. At the time the term majolica was the standard 19th century English term to describe the highly ornate hand decorated 15th and 16th century ware from Italy, Majorca, France and Spain.

Giovanni della Robbia, Resurrection of Christ

Workshop of the Fontana family ca. 1562–75

Workshop of Maestro Giorgio Andreoli c.1528

Minton tin-glazed majolica urn c. 1862

Minton majolica tin-glazed. jardiniere and pedestal

Minton majolica tin-glazed charger, Cupid stealing the thunder from Jupiter

Minton majolica tin-glazed loving cup

Minton majolica tin-glazed charger

Minton tin-glazed majolica plaque

He then turned his attention to the French ware of Bernard Palissy. As a Frenchman he was exposed to Palissy’s work at a young age. His studies in ceramics made him aware of the lead oxide enamel glaze experiments of Charles-Jean Avisseau who had worked in the 1840s to discover the secrets behind Bernard Palissy’s ceramics. Following in these footsteps his own experiments in chemistry led to his development of brightly colored transparent high-lead content glazes that were an imitation of the Palissy ware of 15th century France that he brought to Minton. This type of ware he called Palissy ware. This new glaze differed from the earlier developed majolica in that the tin-glazes used in majolica were largely opaque.

Bernard Palissy plaque

Bernard Palissy plaque

The advantage of Palissy ware was that numerous different color glazes could be applied at the same time to a biscuit ceramic and not require different temperatures for firing different colors. Wedgwood, Whieldon and Greatbach had pioneered this type of multicolored lead glazed earthenware in the 18th century but no other pottery had followed up in this work in the 100 years since its development. The Palissy ware glazes had a higher concentration of lead in the glaze and were applied over highly molded earthenware bodies at relatively low cost producing a finish of high gloss that was appealing to the eye and inexpensive to manufacture. They did not require the expensive decorative work of Arnoux’s tin-glazed majolica.

Herbert Minton was eager to put on an exceptional high profile display that would cement Minton’s place as the premier English pottery. With the 1851 Crystal Palace Exposition just around the corner, Minton and Arnoux devoted all of Minton's resources to combining both majolica and Palissy ware glazes for exhibition pieces for the show. In addition to showing its own display, the Minton factory contributed Palissy ware tiles to the large Pugin designed stove for John Hardman & Co. shown at the exhibition.

Chromolithograph of Minton display of Palissy ware jardinieres 
from the 1851 Exhibition

Minton Palissy ware jardiniere. designed foe 1851 Exhibition
Minton Palissy ware jardiniere. designed foe 1851 Exhibition

Minton Palissy ware jardiniere. designed for the 1851 Exhibition

Chromolithograph of the large Pugin stove for John Hardman & Co. showing five 
different Minton Palissy ware tiles. Some designs were 
repeated in different colorways on the stove.

Minton tile from the Pugin stove

Minton tile from the Pugin stove

Minton tile from the Pugin stove

Minton tile from the Pugin stove

Augustus Welby Northmore Pugin (1812-1852)

Minton's display proved to be a great success. In the words of  architect M. Digby Wyatt who assembled an illustrated catalog for the exhibition:

"So free and original is Mr. Minton's version of Majolica ware, that we can scarcely refuse to it the merit of of great novelty. Both in modeling and execution, it is a very favourable specimen of the productions ot his celebrated manufactory…" 

In time both Minton's Palissy ware and majolica became known as majolica. Today the tin-glazed majolica is rather rare as it wasn't a success for Minton. The lead-glazed Palissy ware however proved to be a sensation. This new majolica started an international trend in pottery that was to last for over 60 years.

Arnoux remained associated with Mintons for the remainder of his life eventually becoming a partner at the incorporation of the firm in 1885. Even after his retirement in 1892 he remained a consultant with Mintons assisting the company during a financial crisis. His contribution in the development of Mintons’ many lines cannot be overstated. He brought in from France the best sculptors, painters and modelers he could get and created, along with Minton, a school to educate artists in pottery decoration. He even patented a more efficient downdraft oven for firing the ware. 

Arnoux’s description of the Minton patent oven (in French)
Arnoux’s revolutionary downdraft oven invented for Mintons


Lé0n Arnoux in his later years

He also developed numerous other bodies and finishes for Mintons that are outside the focus of this blog. For more detailed information on Arnoux's enormous contribution to Minton view this video prepared by the Potteries Museum and Art Gallery. He died in 1902 and is buried in Staffordshire near the Minton factory he devoted his career to.

The grave of Léon Arnoux at Hartshill Cemetary in Staffordshire

Sunday, February 12, 2023

The Strange Tale of the Minton Majolica Loch Ard Peacock


One of the more unusual stories in the history of majolica is that of the Minton majolica Loch Ard peacock.
The British Loch Ard clipper c.1873

The Loch Ard was a three mast iron hulled British clipper ship built in 1863 by the Loch Line of Glasgow to carry cargo and passengers between Liverpool and Melbourne. On March 2, 1878 it left England bound for Melbourne under Captain George Gibb, its third such trip, heavy with cargo and 54 passengers onboard—17 civilians and a crew of 37. Among the cargo onboard were items destined for display at the 1880 International Exhibition in Melbourne. One of these items was a Minton majolica peacock whose care of transport was placed specifically under the care of Captain Gibb.

 Exhibition Building, Melbourne, Australia 1880

The Minton peacock is a life-sized sculpture by French artist Paul Comolera modeled in 1870 and created in majolica in 1873 specifically for Minton. The statue stands slightly under five feet tall with the peacock on a highly detailed rock surrounded by various flora and fauna. Minton only made twelve of these peacocks, although that number is in dispute, and it is believed that nine have survived. It is considered to be among the last surviving examples of Minton’s finest majolica work.

English Registration photo for the Minton peacock

The Minton majolica peacock

After an uneventful voyage, on May 31, 1878, the Loch Ard encountered bad weather that culminated in a thick fog. The ship veered off course as the ship approached the Australian coast. As the fog lifted in the early hours of June 1, Captain Gibb was horrified to discover that the ship had drifted far closer to the coast near Mutton Bird Island than had been expected. Despite attempts to draw the ship back out to sea the vessel crashed against the rocky reef surrounding the island.

Loch Ard Captain George Gibb

The crash devastated the ship. The three masts crumbled blocking attempts to launch the lifeboats and killing some onboard. The vessel sank in fifteen minutes.

A contemporary engraving of the scene on the
Loch Ard as the passengers and crew rush to get to the lifeboats.

All but two of those onboard drowned. The survivors were a teenaged civilian named Eveline (Eva) Carmichael, who lost seven members of her family in the wreck, and Thomas Pearce, a teenaged apprentice midshipman.  

A vivid and rather graphic account of the ship's sinking was provided by surviver Pearce to a local newspaper:

"Pearce, the male survivor, tells me, in answer to my question how it was that the crew were not smarter in launching the boats when the ship struck, that the men seemed to be in a state of stupefaction through fear. Some of them were praying, and others crying, and exclaiming, "We shall all be drowned." There can be no doubt that the scene on board on that morning was something to appal (sic) even the stoutest heart. The ship was bumping heavily on the rocks, and with every roll of the sea her spars would strike heavily against the side of the cliffs, and would fall crashing through the decks. Pearce states that, when on the bridge clearing away the boats, a great portion of one of the top-gallant yards fell from aloft, and caught an able seaman named Hazeldine in the middle of the back, passing right through him, and then through the deck, so as to impale him. His death was, of course, almost instantaneous, but his horrible, scream of death agony appears to have added to the fears already experienced by the men."

The account described the scene afterwards:

The Loch Ard appears to have foundered in 16 fathoms of water, for there is only a small portion of the mizen mast visible above the surface of the water. The ship lies about a quarter of a mile from the main land, but she is close to a small island with frowning cliffs fully 200ft. in height, against which the yards of the ship appear to have grazed as she was tossed by the merciless waves

In another account Pearce told of the final hours on board the ship and the rescue.

"Thomas Pearson (sic), who says that for two days previous to the morning of the 1st June the sky was so overcast that Captain G. Gibb was unable to take an observation, and it was only at about four o'clock on the morning of 1st June that the lookout saw the danger, the reef being at that time scarcely half a mile from the ship, the ship being under close reefed topsails, running before the wind. The captain was on deck at the time the discovery was made. He gave orders to haul the ship to the wind, but she could not weather the land. We then let both anchors go with 50 fathoms of cable—one each. She did not hold, but was dragging on shore. 

When we were about a hundred and fifty yards from the rocks we slipped both anchors, and tried to put on sail, but only just got the mainsail set when the vessel struck the rocks on her starboard quarter. At this time it was just breaking day. Immediately she struck, the topmast went overboard, striking in its passage two seamen, and carrying them overboard, one appearing to be struck dead on the spot. Pearson (sic) was standing close to them at the time. The captain at once gave orders to get the boats out and to have the lady passengers put in them. It was not done, as the waves were washing over the decks. Pearson (sic), with five other sea men, got into the life-boat, and were at once washed overboard. When he came to himself he swam to the boat and kept with it while it drifted into a small bay, close by where the ship struck.”

“When it was well daylight he found himself drifting towards the beach, and managed to get ashore on a table that was drifting ashore at the time. The beach was strewn with cases and drift wood. After he had recovered a little he was walking about trying to discover some of the passengers or crew, when, after a little time, he heard a cry, and on looking in the direction it came from, he saw a lady clinging to a spar, about fifty yards out. He at once swam out to her. She appeared insensible, clinging tightly to the spar. After, some trouble he disengaged her hands and dragged her ashore, and pulled her into a cave. He gave her some stimulant and covered her up, and layed down himself to sleep, being exhausted. He thinks he must have slept about two hours, and on awaking found the young lady apparently recovering."

The place in which they landed is an area now known as Loch Ard Gorge. The two survivors sheltered in a cave on the shore until two livestock herders, W.C. Till and George Ford saw Tom wandering about looking for help and rescued them. They took them to the home of their employer W.H. Gibson. The ship itself was considered a total loss. 

Eveline Carmichael
Tom Pearce
A contemporary newspaper account of the wreck encouraged a 
romance between the two teenagers but they had no interest.
A cave at Loch Ard Gorge where the survivors sheltered
Loch Ard Gorge
Glenample Homestead where Eveline and 
Tom were taken after the shipwreck 
Cabinet photo of Thomas Pearce 
with his medal for bravery

As word spread of the wreck it was reported that some of the cargo had washed ashore. A local man by the name of Charles McGillivray found the crate holding the Minton peacock floating in the water and dragged it ashore within a couple of days of the ship's sinking with hopes of salvaging it. After a disagreement with customs officials over the find, McGillivray abandoned the peacock on the shore. Enter James Miller and Thomas Keys, a diver under his employ. 

Miller was a member of a firm that had bought the salvage rights to the Loch Ard for £2,120  ten days after the disaster. After McGillivray abandoned the peacock on the shore, a storm on June 12 washed the peacock back into the sea. Miller and Keys had to save it from the ocean for a second time. Before they had a chance to bring the peacock inland, another storm on June 17 washed the peacock back into the sea. Now, the peacock had been lost and rescued three times from the ocean. When McGillivray first brought the peacock to shore he claimed it was intact except for a chip on the beak. After the third attempt to bring the peacock to land Keys claimed that the bird had the head broken off.

Loch Ard Minton peacock's head.

Salvage operations on the remainder of the cargo concluded quickly. £3,000 worth of the cargo that had been salvaged was swept back into the ocean after the June 17th storm. It would be another 90 years before the surviving cargo was salvaged. James Miller decided to keep the peacock for himself. The peacock head was reattached using a wooden dowel and animal glue. It remained with Miller until death at which time his daughter Florence chose to offer it for sale. She placed the peacock on display in an antiques store in Melbourne while searching for a buyer. She also loaned the peacock to the National Gallery in 1935 for their Victorian Historical Exhibition. 

The peacock was eventually sold to dentist, artist and collector John Heath and his wife Eileen who kept it in their home, an old converted Presbyterian Church in Oakleigh which he called "The Studio." The peacock was perfect for display in their portico.  A magazine article published after the conversion included photographs of the interior. The picture of the entrance had a caption that stated, “Some of her [Mrs. Heath’s] finest pottery was salvaged from the Loch Ard Wreck." As adults the Heath children recalled running around the peacock in the portico as they played, oblivious to its value.

John Samuel Robert Heath (1893-1970)
Newspaper clipping  from September 1937 showing John Heath 
in front of his converted church

The Minton piece was then offered for sale at an auction in May of 1941. The buyer was Frank Ridley-Lee who kept it in his home in Ivanhoe, a suburb of Melbourne. It remained with the Ridley-Lee family until June 1975 when it was offered for auction with a reserve of $4,500. Unable to reach its price, the Flagstaff Hill Maritime Village in Warrnambool raised money through public and private donations to purchase the bird for their museum in September 1975. 

Today it is on display in the Flagstaff Hill Maritime Village Museum with other objects rescued from the ship where it is known as the Loch Ard Peacock. It's ironic that as a bird the peacock symbolizes survival and resurrection, something this Minton majolica piece certainly speaks to as well.

The Loch Ard peacock on display at the Flagstaff Hill 
Maritime Village Museum in Warrnambool

Pearce and Carmichael remained in Australia for six weeks after the wreck to recover from their trauma. Pearce was lauded as a hero for saving Carmichael and awarded a medal. Both became local celebrities. Newspapers encouraged a romance between the two teenagers but neither one expressed any interest in the other. Pearce was, after all, just a cabin boy and Carmichael was the daughter of a wealthy doctor and a descendant of England’s royal Plantagenet bloodline. The two went their separate ways. Both eventually returned to Great Britain and married others. 

Eveline Carmichael on the right with her mother Rebecca and 
sister Raby before their voyage. Rebecca and Raby’s bodies were the only two 
from her family recovered after the wreck.

Tom married Edith Strasenburgh—the sister of one of his lost shipmates—in 1884 and had a successful career as a captain with the Royal Mail. He died in December of 1908. Eveline returned to Ireland and married Captain Thomas Townsend in 1884. As a wedding present she gave him a Georgian watch recovered from her mother Rebecca’s body after the shipwreck. She died in April 1934 after raising a family of three sons, all of who became captains. The watch is now also in the Flagstaff Hill Maritime Village Museum.

The Carmichael watch

An article on the Loch Ard Peacock appeared in Australian Home Beautiful in March 1, 1928. In it diver Thomas Keys described the recovery:

"One corner of the case crashed against the rocks, but it, was washed up intact, and being opened, was found to contain a life-sized peacock. Either in the crash against the rocks or in the opening of the case the head was broken off, but was easily cemented"

Article from Australian House Beautiful, March 1, 1928

The article mentions that a Minton majolica stork umbrella stand was also recovered intact. That piece as well as another Minton majolica crane stand recovered from the wreck can also be seen at the museum.

Minton majolica cane stands

Other items recovered included numerous fairings and pewter.

Fairings from the Loch Ard wreck
Fairings from the Loch Ard wreck

Pewter teapot fragment from the Loch Ard wreak
Pewter. tankards from the Loch Ard wreck

The wreck of the Lock Ard was declared a heritage site on the Victorian Heritage register and remains at the bottom of the ocean off Mutton Bird Island. It has become a tourist attraction for those divers interested in exploring it. It is considered to be among the worst ship wrecks ever to occur off the Australian coast, a coast known for its hundreds of ship wrecks.



Pewter tankard on the ocean floor
The remains of the Loch Ard today

With a value today of over a hundred thousand dollars, the Loch Ard peacock is believed to be the single most famous, and valuable, cargo salvaged from any ship wreck in all of Australia. The museum has it insured for $4,000,000.

Cemetary where the dead of the Loch Ard disaster are buried. 
Only four bodies were recovered
Plaque at Loch Ard Gorge with the names of those 
lost in the wreak

So ends the peculiar tale of the Minton majolica Loch Ard peacock. To watch a short video surveying recovered treasures from the Loch Ard shipwreck go here.

This post has been updated since it was originally posted .