home | Local Time: 23rd February, 2012 10:51 AM
A Lustrous Appeal
Given that it was created using a thin, metallic film applied to a ceramic surface - making the decoration quite fragile - it's a little surprising that the majority of lustreware was made for everyday use. But as Grace Parry discovered, there's a lot more to lustreware than meets the eye...
The term 'lustreware' can be ambiguous in meaning, as it's not a line of products as you might think applies to say, creamware or pearlware. Rather, it describes a type of decoration applied to any piece of ceramic, whether earthenware or porcelain, and falls into two categories, iridescent and metallic.
Iridescent lustring - also known as Hispano-Moresque - is based on ancient techniques that began in the Middle East. The lustre is incorporated in the glaze, resulting in a myriad of fabulous effects randomly created after it is fired.
Metallic lustring is the result of metal, dissolved in acid and applied as a thin film on top of the glaze, being brushed or sometimes dipped. It is then fired, reducing the oxidised metal in the lustre solution to its original metallic state.
Identification
For the lustreware collector, identification can be frustrating because most items are unmarked, although a few bear a maker's mark. The non-identification was a deliberate strategy by retailers and was specified in their contracts with the potteries, because they did not want their customers cutting them out of the transaction by dealing directly with the supplier. The exceptions generally applied to the more prestigious companies such as Josiah Spode and Davenport, whose reputation were solid enough for them to assign their own terms; and the other exclusion was for exported goods that showed the maker's mark as a guarantee of authenticity. As Sunderland and Newcastle ran a successful export market, so many of their wares are helpfully impressed with the company names.
In other cases, marks are another helpful indicator and these come in many forms: incised, printed, painted, impressed, and changed brandings due to lettering or wording.
Incised marks might be of the pottery's name or the initials of the maker manually scratched into the soft clay of the body prior to firing or decorating. Generally these are untidy casual markings and lack the precise quality of a neatly impressed mark used by a metal die. Such marks were also prone to damage caused by undue pressure, especially upon a hollow product, and so the mark - using a sharp die or making a minute incision - would be applied close to the rim, the point of least pressure. In some cases, manufacturers' policy was not to use impressed marks on any item.
Printed marks were simply applied over the glaze with a rubber stamp. Transfer prints from copper plates were generally used in the 19th century. Decorative touches such as a fancy cartouche, or perhaps a pattern name (rather than the maker's name) appeared. Sunderland and Newcastle pottery show the maker's name incorporated into the main transfer print on the side of a jug or mug, not as customary on the base.
Painted marks were randomly applied by hand over the glaze during or after the decoration. On occasion, an individual decorator's marks would be included.
Impressed marks on teawares are mainly found on the saucer or plate, rarely on the cup; on teapots it appears near an edge. Flatwares had the advantage of being supported during manufacture on the side opposite the name impressing, a virtually impossible task when round hollow objects such as teapots, jugs or cups are made. While you might think impressed marks are just about a sure thing to aid identification, it still depends on the clarity and skill of application of the worker as to how easily read they might be, as even a sloppy smidgin of slip or glaze can be enough to muddy what seems to be right in front of you.
Out-of-the-ordinary marks are just as confusing. They might be due to a simple change of ownership or partnership or a revised style of lettering, but no change to the actual wording. When this is the case, background knowledge of when this revision occurred can help in its dating.
One of the best sources for different markings is Wedgwood, because in their longevity they have used a plethora of marks on their products and importantly, kept a detailed list of those changes, thus making identification easy. Also, books providing the origin of prints which have been used as transfers are particularly helpful for giving a guide to the earliest possible date of the item, and knowing the origin of a print on your of your pieces further adds to your knowledge of lustreware. In fact, anything useful relating to lustre is a bonus.
From Novelty to Noteworthy
The range of lustreware is extensive. Northern potteries initially used lustre as shimmery decoration to their variety of everyday wares, from the cheapest porcelain trinkets to the finest quality decoratives. Many potteries experimented on a limited production run, and depending on the finished article, either progressed in taking it to the marketplace or simply abandoned it as not suiting their customer's needs. Several hundred Staffordshire potteries produced lustre, as did Yorkshire, Liverpool, and north-east Scotland and South Wales potteries. All manner of ceramics was decorated from fine porcelain to unrefined earthenware, as well as ironstone, creamware, pearlware etc., so trying to identify them without marks can be a daunting task.
In his book 19th Century Lustreware, author Michael Gibson recognises this and suggests: "There is probably no better place to choose than the potteries of the north-east coast of England. This is because the number of companies involved with lustre decoration was comparatively small, and because they did, collectively, develop a very definite style that was all their own. Their total output was large and a great deal of it has survived..." He refers here to Sunderland and Newcastle; styles from both potteries are similar in decoration but a keen collector will quickly learn how to distinguish them.
Deciding on what lustreware to specialise in doesn't have to be difficult. You know what you like, so choose accordingly; for instance, if you favour Sunderland you might like to concentrate on a particular motif or collect lustre trios, Sunderland jugs, vases, baskets, or figurines; perhaps something quirkier - cow creamers or frog mugs. Commemorative ware is popular, and being associated with a special historical event means it is considered easier to date, but there's a snag here, because sometimes these pieces proved so popular that they were produced for years after the event. Compared with most unmarked lustre, however, they have the advantage of offering more precise circas.
Exposure to pieces at antique shops, fairs and museums is recommended. When you have seen a range of lustreware, handled the objects, noted differences in makers, subtleties of lustre, old shapes, decorative designs, recognised certain marks, and been aware of some lustre reproductions being passed off as genuine, then you are well on your way. Never accept anything at face value. Copper lustre is particularly prone to reproduction.
Modeller George Ray's famous Polka jug design is notorious for being the most widely copied of all. He registered the Polka design on 11 April 1852, and it proved to be one of the 19th century's most popular relief-moulded jug patterns on which lustre decoration featured. The gaily-dressed polka dancers are mid-step, in high relief, with feathered curlicues forming decorative corners. A distinguishing mark of the genuine article has the diamond registration mark moulded into the base; to compound the problem, later makers used original Polka jugs to create their own moulds. Great care needs to be taken should you come across one of these jugs purporting to be old.
In fact, great care needs to be taken in general when handling lusterware, simply because the metallic film from which the lustre is made up is incredibly thin; it should never be polished or cleaned with an abrasive cleaner, as this would not only damage the lustre, it may even remove it completely. Light sponging with a mild detergent is the most drastic action that should be taken, and in nearly all cases this is enough to restore that fabulous lustrous appeal.