Lustreware or lusterware (the respective spellings for British English and American English) is a type of pottery or porcelain with a metallic glaze that gives the effect of iridescence. It is produced by metallic oxides in an overglaze finish, which is given a second firing at a lower temperature in a "muffle kiln", or a reduction kiln, excluding oxygen.
The technique of lustreware on pottery was first developed in Mesopotamia (modern Iraq) in the early 9th century. Initially mostly decorated with geometric patterns, by the 10th century an Iraqi style with the design dominated by one or two large figures developed. After the Fatimid conquest of Egypt in 969, it became a great centre of lustreware production until the Fatimid Caliphate fell in 1171, soon after the potter's quarter of the capital Fustat (Cairo) was burned in 1169. It is thought that the Fustat potters dispersed to both Syria and Persia, and lustreware appears there about this time; later the devastating conquests of the Mongols and Timur disrupted these industries. The technique had spread to al-Andalus (the Islamic Iberian Peninsula). Hispano-Moresque ware in lustre was mostly produced in Christian Spain, especially in the region of Valencia – in particular Manises – and later Barcelona.[1]
Fritware dish, Persia, 13th century
Lustre appears in Italian maiolica around 1500, and became a speciality of two relatively minor pottery towns, Gubbio, noted for a rich ruby-red, and Deruta.[2] Around 1550 an even smaller town, Gualdo Tadino, also began to make some, for about a century,[3] which was the last Renaissance lustre, Gubbio having stopped about 1570, and Deruta around 1630.[4] There was a revival in England and other European countries in the late 18th century, when the techniques had largely to be reinvented, continuing into the 19th and beyond.[5] Meanwhile Persian lustre, after very little production since the 14th century, revived under the Safavids between about 1650 and 1750, for elegant vessels, especially vases and bottles, densely painted with plant-based designs.[6]
Mary Magdalene on Italian maiolica dish, Gubbio, 1530–1540
The lustreware effect is a final coating applied over the ceramic glaze, and fixed by a light second firing, applying small amounts of metallic compounds (generally of silver or copper) mixed with something to make it paintable (clay or ochre). This is then fired in a reducing atmosphere at a temperature high enough to "soften" the glaze from the first firing, and break down the metallic compounds, leaving a very thin ("perhaps 10 or 20 atoms thick") layer that is fused with the main glaze, but is mainly metal. Lustreware normally only uses one colour per piece, and the range is limited – a "gold" derived from silver compounds was historically the most common.[7]
Lustreware or lusterware (the respective spellings for British English and American English) is a type of pottery or porcelain with a metallic glaze that...
Sunderland lustreware is a type of lustreware pottery made, mostly in the early 19th century, in several potteries around Sunderland, England. According...
Among the best-known art forms that flourished are a type of ceramic lustreware and the crafting of objects carved in solid rock crystal. The dynasty...
Switzerland. There is an unrivalled collection of Italian maiolica and lustreware from Spain. The collection of Iznik pottery from Turkey is the largest...
Creigiau Pottery of South Wales produced a 'Welsh Pie Dragon' in copper lustreware. This trend has been particularly noticeable in recent times, due to their...
houses a comprehensive collection of the locally produced Sunderland Lustreware pottery. The City Library Arts Centre, on Fawcett Street, housed the Northern...
Bowl with Majlis scene by a pond, by Abu Zayd, Iran, dated 1186, MMA. Lustreware great basin signed by Abu Zayd al-Kashani in 1191, Kashan, Iran. Bowl...
the technique of tin-glazed earthenware to Al-Andalus, where the art of lustreware with metallic glazes was perfected. From at least the 14th century, Málaga...
stood about 125 centimetres tall on average, making them the largest lustreware pieces ever made. They were shaped like amphorae with narrow bases, bulging...
decoration. There is often great interest in ceramic glaze effects, including lustreware, and relatively less in painted decoration (still less in transfer printing)...
vase, c. 1805 Black basalt teapot with Chinese Flowers, c. 1820 Silver lustreware teapot, early 19th century "Portland blue" jasperware, c. 1840 Victorian...
the 15th and early 16th century. It was the first Italian centre to use lustreware pigments, usually yellow, ruby or olive-green. Open pieces are usually...
elites of the earlier Persian empires to produce fancy glazes such as lustreware and high-quality painted decoration. Overall, Persian pottery expanded...
Lustreware Plate with Bird Motif, 11th century. Archaeological digs have found many kilns and ceramic fragments in Fustat, and it was likely an important...
Lustreware plate painted by Abu Zayd al-Kashani in December 1210 (dated AH Jumada II 607), at the time of the Khwarazmian Empire. Iran, Freer Gallery of...
century, Deruta became (with Gubbio) a specialist centre for metallic lustreware in golds and ruby red, added over the glaze. In the 16th century Deruta...
traditions. The influence of ceramics from the Tang dynasty can be seen on lustrewares, produced by Mesopotamian potters, and on some early white wares excavated...
including cuerda seca pieces. The most luxurious form was iridescent lustreware, made by applying a metallic glaze to the pieces before a second firing...
Motifs Persian Turkish Prayer Pottery Fritware Hispano-Moresque İznik Lustreware Mina'i ware Persian Chinese influence Textiles Batik Damask Ikat Embroidery...
for lustre. In the 15th century, the term maiolica referred solely to lustreware, including both Italian-made and Spanish imports, and tin-glaze wares...
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