AN IMPORTANT PAIR OF MINTONS PÂTE-SUR-PÂTE TWO-HANDLED EXHIBITION VASES 1877

by Marc Louis Solon for Thomas Goode & Co., exhibited at the Paris International Exhibition of 1878, both signed L. Solon, one dated 1877, each finely decorated in white and colored slip on an olive green ground, on the front of the first with a maiden whipping Cupid with a branch, the reverse with five cheubs rejoicing on a platform above the inscription GAUDEAMUS IGITUR, and on the second with a maiden restraining Cupid with chains, the reverse with five cherubs lamenting on a platform above the inscription LUGETE CUPIDINES, all between wide elaborate geometric patterned bands around the stem and shoulder and a border of lyres and tambours beneath bowknotted garlands suspended from four white doves around the neck, affixed on either side with an upright knopped loop handle molded with a pair of gilt snakes above each foliate terminus, with ebonized wood square bases, gilt printed crowned globe MINTONS mark, impressed MINTONS, one impressed with an indistinct date cypher. 4 pieces.

Paris, Exposition Universelle, May 1-November 10, 1878, one vase bearing the applied paper exhibition label for the retailer, Thomas Goode & Co.

Paris Universal Exhibition of 1878, Virtue, London, 1878, p. 34 (one of the pair)

The vase with Cupid chained: There are two old riveted repairs to two large breaks to the foot affecting more than almost 2/3 of the entire circumference; the repairs are overpainted on the underside and there is some discolored regilding in some spots around the edge of the foot and along the breaks. The vase with Cupid being whipped: There is a small flat restored chip to the inner edge of the rim that issues a fine haircrack running down the neck to the midpoint of one of the lyres on the front. The yellow slip on both has misfired slightly giving it an occasional 'gritty' appearance; and there is some occasional minor flakes to the gilding around the rims of both.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The Paris Exposition Universelle, was the city's third world fair, held from May 1 through November 10, 1878, seven years following the bitter defeats suffered by France at the end of the Franco-Prussian War. It was larger scale and more ambitious than its predecessors, occupying 66 acres in the center of the city and exhibiting highlights in the areas of the arts, science and industry from nations around the world. One-half of the space was occupied by French exhibits while the remainder was shared by other countries, German representation notably but not surprisingly absent at the event.
Marc Louis Solon had left France at the outbreak of the Franco-Prussian War and arrived in England in 1870. Soon afterwards, he was engaged by Minton as an artist decorating exclusively in the technique known as pâte-sur-pâte. The following year examples of wares decorated by him were already being exhibited by the factory at the London International Exhibition and by 1878 pieces decorated with his mischievious cherubs were highly regarded and sought after. During this period Minton had developed a particularly strong connection with the London retail firm of Thomas Goode & Co. This relationship, as well as those with other retailers, is described by Bernard Bumpus, Pâte-sur-Pâte, The Art of Ceramic Relief Decoration, 1849-1992, p. 105, and p. 116: "1878 and the Paris Universal Exhibition proved an outstanding success both for Minton and Solon, the retailer Thomas Goode purchasing and displaying the entire Minton exhibit." The retailer is listed in the Paris Universal Exhibition of 1878 Catalogue of the British Section, Part I, class 20, p. 87: "Goode, Thomas, & Co.: Depôt for Minton's China; 19, South Audley St., London. Etchings on China by Mr. William Goode. Porcelain and Majolica by Minton." The vase depicting a chained Cupid in the present lot is illustrated in Paris Universal Exhibition of 1878, p. 34 (see illustration below), where it is stated: "To praise the works of MINTON & Co., of Stoke-upon-Trent, would be to 'gild refined gold.'...They are represented chiefly, as to extent, by several English dealers, for some of whom they have executed designs specially furnished to them by such 'houses.'" The second vase of the present pair, depicting Cupid being whipped, is identified by Joan Jones, Minton, The First Two Hundred Years of Design and Production, p. 202, as the vase so highly praised in the Pottery Gazette  review of the 1878 Exhibition: 'The pâte-sur-pâte painting of Monsieur Solon completely places in the shade anything from the Royal manufactory. A large green-bodied vase is an exquisite specimen - all the sculpture and relief magnificently worked out, and the perfect transparency of the figures, is rivalled by nothing from Sèvres."
A pair of vases of the same form, impressed with shape number 2076, was sold in these rooms, April 14, 2008, lot 43.