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The style incorporated birds, flowers and oriental and marine motifs in keeping with the new Aesthetic Movement and was soon adopted by Simon Fielding and others.

The most popular Wedgwood majolica design was the Fan pattern, composed of upright triangular oriental fans alternating with brightly colored birds and prunus blossoms.

One of the most common earthenwares found on American archaeological sites dating from the 1780s until the 1830s has a bluish tint to its glaze.

Interestingly, Wedgwood also received technical assistance from Leon Arnoux, Art Director at Minton.

Arnoux shared expertise of the formulation and firing of majolica glazes and his Patent Ovens were installed in the Wedgwood factory in 1875.

Despite a late start, Wedgwood’s majolica output was huge, successfully feeding the home market and exporting to the new markets of America and Australia.

It is distinctive for its quality of glazes and sharpness of modeling.

The peak years of majolica production in 1875-1880 saw the introduction of some 1300 new designs.

Argenta wares were first produced in 1878 and featured a white or pale cream ground compared to the more vibrant colors of earlier Victorian majolica.

D’Entrecolles was a missionary to the Ching-tê-chên region of China.

From there, he sent two long, detailed descriptions of the porcelain-making process, one in 1712 and the other in 1722.

It was at this point that the firm embarked upon the production of majolica, some ten years after the initial success of Minton. It was Godfrey Wedgwood who engaged the services of the prominent artists Emile Lessore, Hughes Protât, Thomas Allen, Joseph Theodore Deck and Christopher Dresser, a central figure of the Aesthetic Movement.

Several of these artists had previously either been employed by Herbert Minton or continued to design for both firms during the years of majolica production.

A variety of soft-paste porcelains was developed using fritted glass, soapstone, or calcined bone, in combination with white-firing clays and calcined flint.

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