Pieces of Royal Lancastrian served as shining examples of art pottery that came out of the Arts and Crafts movement. At the time, Lancashire was one of the major pottery centers of England. Of the lustreware on display in the Library at the Driehaus Museum today, three pieces come from the little known firm Pilkington’s Royal Lancastrian Pottery Company, established in 1892 in Lancashire, England. The techniques revived in England spread throughout the British empire and the world, reaching as far as Japan. Another technique, created by the Germans but quickly usurped by the English, created the illusion of solid gold or silver. Makers experiment to perfect and develope new glazing techniques and lusterware gets a new look. One method, the Resist Technique, allows glaze to be painted on or to be utilized as a base coat. Around the same time, lustreware appears as Maiolica (Majolica) in Italy via Sicily.įive hundred years later in the 19th century, William De Morgan (1839-1917), rediscovers the process of lustreware (after one thousand years of existence), and introduces it to the English Aesthetic Movement. As lusterware spreads to the Christian world, designs begin to include new symbols, such as coats of arms and crosses. Wherever its origin, its popularity by the 14th century is apparent. Some argue its origins came from the Tang Dynasty in China, others say Persia. The origin of this blue, as seen in this piece of Spanish lustreware, is contested. Complex geometric patterns in striking cobalt blues were overlaid in variations of gold lustre and warmer tones. Courtesy of the Walters Art Museum.īy the 14th century, lustreware is found in Iraq and along the Northern rim of the Mediterranean. Image left: Islamic inspired Spanish lustreware bowl, early-mid 15th century.
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