In these oh-so-modern days of mass-produced goods, uniqueness and originality is not something we are too often presented with. Perhaps this is why antiques are becoming increasingly more desirable. At times, I laugh at myself for being so charmed with an enamel bucket or something of a similar kind, when I think how disgusted I should be with a newfangled plastic one. That’s what I love about antiques; even a time-worn bucket can be romantic.
I am highly pleased to unveil this post, which shall highlight my most beloved antique; pink lustreware pottery! Here, I shall impart the secrets one must know, as well as share with you my family’s humble collection. Many thanks to my mother, who permitted me to take a sufficient number of these plates off our walls for the purpose of photographing! 😉
The Origin
The technique which furnishes a piece of pottery with the almost iridescent luster is exceedingly old, dating back to the Persians prior to the thirteenth century. As you can imagine, these earliest pieces are terribly hard to come by and would require quite the generous sum to secure.
While Prusia and other countries, such as Spain and Italy, can claim to be the earliest makers of this intriguingly lustrous pottery, it was the English potters who embellished their pieces with the lovely designs for which lustreware is known. Most of the pieces in the photographs are 150 – 200 years old and were handmade in England.
The Process
There are mainly four classes of lustreware: silver, copper, gold, and pink or purple. A slight tweaking in the formula creates each one.
In the plainest of terms, I shall attempt to describe the general process to you. The beautiful luster is achieved by spreading a metallic solution upon the surface of the piece before a final firing. In an effort to make the pieces relatively affordable, the solution was very thin.
Pink lustreware is made by using a meager ration of gold, which produces a pink or purplish tint after oxidizing. A soft rose-pink color is my favorite!
The History
Before households were illuminated with electricity, anything that would reflect light from their fires and candles was desirable. For the wealthy, this was a simple task; their glass, silver, and gilded furniture mirrored the light. However, those whose purse could not afford such extravagance had to be inventive. Alternatively, the dark corners of their rooms were brightened with lustered pottery, which, in my humble opinion, is ideal.
Collecting
As aforementioned, some lustreware pieces have seen the change of 100 years or more! Though it would be marvelous, it is quite hard to come by a complete matching set, for they were sure to be divided as they were passed down through the generations. A collection of lustreware will most likely be a unique hodge-podge of finds, but somehow, they all complement each other beautifully!
There are a few relatively modern reproductions of lustreware, but it is always best to purchase the truly old pieces. Other than just being acquainted with the unmistakable feeling of the centurion pieces, there is another way to tell. Many pink lustreware pieces were made in a time in England where potters were not required to mark their pieces. The majority of the plates that are in our collection do not possess a marking on their backs. A few have a very ancient hand painted number for a mark. Pieces such as these are definitely old. We have just a few with very early, faint printed markings, but these are equally fabulous! My newest piece is a hand painted plate from Stoke-On-Trent, England by Gray’s Pottery. It’s beautiful marking reveals it is from the 30’s. Nevertheless, I still adore it!
Collecting is profoundly rewarding and is a source of lasting enjoyment. I love how every lustreware plate, teacup, and pitcher has a personality, and it gives me great satisfaction to give each of them a home! Happy Collecting!
Till next time,
Amelia Clementine