Throughout the nineteenth century the Minton ceramic manufactory in Stoke-on-Trent, Stafford-shire, England, was at the forefront of taste and innovation.
Among the outstanding ceramic artists lured to the Minton factory during the second half of the nineteenth century was Marc-Louis-Emmanuel Solon, a former principal designer and decorator at the Sèvres…
Christopher Dresser’s bold rethinking of design for household items and decoration made him one of the most radical British designers of the nineteenth centur
During the second half of the nineteenth century the British ceramics factory Minton enlisted the talents of many gifted designers and artisans to produce works in a range of ceramic bodies of…
As a student at London’s Royal College of Art for three years from 1951 to 1954, John Bratby had access to remarkable teachers such as Carel Weight, Rodrigo Moynihan, Ruskin…
In a landmark study published in Encounter in December 1954, art critic and curator David Sylvester noted how: We have a pretty clear idea of the prevailing tastes of the…
Explore the enormous social changes that took place in the nineteenth-century and how these are reflected in the art and design of the period, from the industrial revolution to William…
This work by Minton is a very close copy of a covered bowl in the Louvre, Paris, that dates to the sixteenth century and is decorated in imitation of ‘Saint…
The nineteenth century in Europe was characterised by a series of revivals of historical ornamental styles.
Among the outstanding ceramic artists lured to the Minton factory during the second half of the nineteenth century was Marc-Louis-Emmanuel Solon, a former principal designer and decorator at the Sèvres…
It would seem that no aspiring middle-class family of the Victorian era would have considered the furnishing of its drawing-room as complete until it could adorn a side table or pedestal with…
This edition of the Art Bulletin of Victoria 19 features essays that examine a wide range of works from the NGV’s collection. Highlights include: Frank
The National Gallery of Victoria is unique amongst the public galleries of Australia in its efforts to build up a fine and representative collection of decorative arts
The National Gallery of Victoria’s Connell Collection provoked great excitement when first exhibited in 19
Canaletto’s Bacino di S. Marco (fig. 1), acquired through the Felton Bequest in 1986, can be a problematic painting, both in terms of what we know about it and our response…