Majolica

The term majolica is applied to earthenware that has been dipped in a white opaque glaze in order to provide a canvas for decoration and design. History tells us that craftsmen in North Africa attempting to recreate the fine white Chinese porcelain of the time developed this technique as early as the ninth century. 

Today as "majolica" utilizes a technique of applying a tin or lead based enamel on soft, porous earthenware, which can be dated back thousands of years to ancient Persia where it was used in the construction of mosques and monuments throughout history.

By the thirteenth century, the technique had spread and majolica was being produced in Spain, particularly the island of Majorca. Tin-glazed Hispano-Moresque pottery, in such shapes as albarelli and platters, were transported from Spain to Italy. Spanish traders brought the process to Italy and the term majolica was formed by the Italians to commemorate this heritage. In the fourteenth century, the town of Deruta, although it had had a difficult history before, became a major exporter of majolica to larger Italian cities. This was due to the surrounding land, which contained earth that was highly suitable for making the clay, and a large abundance of trees for firing kilns. 

Majolica is often confused with maiolica, a method of brushing color pigments on an unfired glaze developed in regions of Italy, Spain, and Persia beginning in the middle of the 15th century. It was first introduced to Europe in the 16th century via the Spanish Island of Majorca, from whence "majolica" is named. First adopted by Italian artisans, it thrived during the Renaissance under the patronage of the Medici family and was soon copied by the French, Dutch, and eventually England where arguably it was raised to the highest form. Forms of majolica were produced in many parts of the world, including Latin America where the Spaniards introduced it as they colonized and explored the new world. In the 17th century, this new pottery found its way to further development in England and Stoke-on-Trent.

Most collectors today refer to majolica not so much for the technique as for the works produced in 19th century England, which have colorful, high gloss glazes. Majolica colors are very distinctive and used consistently by many manufacturers, and the designs were often bright and creative. Majolica artisans used the light color of their clay bodies and hand molding and modeling to create areas where the glaze would collect more heavily and coalesce naturally to create unique finishes. As such, the decorative pattern is part of the clay mold itself. After a first firing, majolica is then decorated with the bright, metallic glazes and fired a second time to create its distinctive look.

Victorian majolica is the most highly sought, produced from the mid 19th century into the very early years of the 20th century. Majolica of this period can also be recognized by the common themes repeated in majolica work of this period including leaves, fruit, mythological figures, lions, birds, lions, rams, and other plants and animals. Oriental influences also made their way into majolica production, introducing monkeys, elephants, and more exotic creatures foreign to Europe. Much majolica is unmarked from this period and must be recognized by specific characteristics of the manufacturer. However, the best and most highly collected pieces of English majolica are typically marked and were produced by Minton, Wedgwood, Royal Worcester, Holdcroft, Lear, and George Jones. American manufacturers of majolica included Eureka and Chesapeake Potteries and Griffin, Smith, & Hill; in continental Europe, probably the best-known producers were Sarreguemines, Luneville, and Villeroy & Boch.

Minton majolica tends to be the most highly collected, first created by Minton art director Joseph Arnoux in 1848. He patterned his work on ancient " maiolica " but differs in having a much thicker body and an opaque white under glaze, which was used as a foundation for application of the more brightly colored glazes forming the actual majolica decoration. Maiolica's base glaze is glossy and made whiter with the addition of tin oxide and firing at very high temperatures, and it is well suited for ceramics to be finely decorated with paint. This is different than majolica's use of free flowing glazes and bodies whose form reflects the design to coalesce glazes in the desired locations.

At the American Centennial in Philadelphia in 1876, American potters recognized the potential importance of majolica, bringing brightly colored patterns to replace the white or blue and white patterns of dinnerware. Although migrant English potters had produced American majolica since the early 1850s, American majolica blossomed in 1879 when Griffen, Smith and Hill produced the outstanding, award-winning Shell and Seaweed. 

At the close of the reign of Queen Victoria in 1901, majolica production was at an end. Production, which had increased since 1875 but with fewer original examples and with less artistic enterprise, were finally overcome by the fatal effects of plumbism, or lead poisoning. The public looked for new designs in Art Nouveau and in the Art Pottery movement. In Europe, potteries in France and Germany continued to produce majolica.