WSNY
The
Ars Ceramica Logo

2012, Number 28

Published September 2016

©2016 by The Wedgwood Society of New York, ISSN 1043-3317

  • President's Letter
  • Wedgwood’s Paint Boxes by David M. Pendergast
  • Ralph Wood’s Enamel-Painted Figures and Busts by Myrna Schkolne
  • Ariadne and Cleopatra: Identities Transformed by Nancy H. Ramage
  • Inclined Planes, Trade Tokens and a Coalport Jug by John Willock
  • Solon’s Pâte-sur-Pâte: English Pottery of a French Mind by Jeffrey Tulman
  • Not One’s Ordinary Staffordshire Dogs by Robert Harrison
  • Visions of Fairyland: Susannah Margaretta (Daisy) Makeig-Jones by Colin Andrew
  • The Caughley Society by Roger Thornhill
  • Book Review:
    British Ceramics 1675-1825
    By Brian D. Gallagher
    with contributions by arbara Stone Perry, Letitia Roberts, Diana Edwards, Pat Halfpenny, Maurice Hillis, Margaret Ferris Zimmerman
    Published by The Mint Museum
  • In Memoriam - Geoffrey A Godden, 1929 - 2016

Cover Image

On the cover: Detail of a Minton pâte-sur-pâte paperweight designed by Marc-Louis-Emmanuel Solon, made for the 1878 Paris Exposition Universelle, signed L Solon, 6ľ” (17.1 cm) h. x 7Ľ” (18.4 cm) w. The classically-dressed maiden is dealing with the perennial problem of what to do with private love letters of a compromising nature. If the image is not clear enough, a verse on the reverse exhorts us to be wary of people’s curiosity, and throw nothing away carelessly; we are also advised that while it is good to guard love letters well, it is even better to burn them, as the young woman is doing here in the convenient brazier behind her chair. Owing to the Franco-Prussian War, Solon left Sčvres for Minton’s in Staffordshire in 1870, introducing the pâte-sur-pâte technique to England, where he remained until his death in 1913. His designs for the Minton factory clearly reveal his French origins and background, a topic which is examined in Jeffrey Tulman’s article.

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