This is a magnificent centre piece tazza made by Minton in 1891, which was the Victorian era. The piece is made in white and pink porcelain where the base is quatrafoil in shape and the top is oval. The oval top has a reticulated or pierced continous skirt that extend upwards   and is resting on the heads of two white painted cherubs facing away from each other. A ribbed gilt underbase  is affixed to the heads of the cherubs.
At the centre and siiting inside the base is a pink stepped pedestal on which the cherubs sitting each holding part of a laurel gilt wreath.
A reticulated continous border surrounds the basket like base and a blue and white handpainted medalion encased with gilt jewelling adorns the front and back of this stunning tazza or centerpiece.
This piece is beautifully modelled and in an unusual shape; while most tazzas have the plate on top  this one has it  one also at the base. The base is a reticulated and pierced basket. The medalion is very finely handpainted Art Nouveau roses in pastel blue.
 
Ideal for fruits or sweet meats you can be the envy of your dinner party. 
 
Minton was one of the pioneers of English china production alongside other great potters such as Spode, Davenport, Ridgway, Coalport and others. They were located in Staffordshire and were known specifically for their wonderfully fine white bone china, parian china and bright colours; there is a colour called "Minton Blue" which is a fresh azure blue that Minton excelled in. Minton produced the finest British porcelain, often thanks to the fact that they sourced some of their best artists and scientists from the French Sèvres factory. Minton supplied huge quantities of tablewares, tiles, and other items to the USA in the 19th Century; the White House was traditionally supplied with Minton crockery and many great buildings of this era were tiled with Minton tiles. Antique British porcelain is never perfect. Kilns were fired on coal in the 1800s, and this meant that china from that period can have some firing specks from flying particles. British makers were also known for their experimentation, and sometimes this resulted in technically imperfect results. Due to the shrinkage in the kiln, items can have small firing lines or develop crazing over time, which should not be seen as damage but as an imperfection of the maker's recipes, probably unknown at the time of making. Items have often been used for many years and can have normal signs of wear, and gilt can have signs of slight disintegration even if never handled.