William De Morgan (1839 – 1917), a key figure in the Arts and Crafts Movement, revolutionized ceramic art with his development of the lustre glazing technique. This technique, characterized by its iridescent sheen, has roots in ancient Islamic pottery and involves applying metallic compounds to the surface of a ceramic piece and then firing it in a reduction kiln.
De Morgan's unique adaptation and perfection of this method set his work apart and left a lasting impact on ceramic artistry.
Lustre glazing requires a meticulous process of applying a mixture of metal oxides—typically silver, copper, or gold—onto the ceramic surface. When fired in a reduction kiln, which restricts the oxygen flow, the metal compounds bond with the ceramic, creating a thin, reflective layer. This process results in a stunning, shimmering effect that shifts with the light, giving De Morgan’s pieces their signature brilliance and depth.
However, while the aesthetic appeal of De Morgan’s lustreware is undeniable, today, the technique is less often used as it does raise environmental concerns. The firing process in a reduction kiln consumes significant energy and produces emissions that can contribute to air pollution if not carefully managed. Additionally, the use of metal oxides, some of which can be toxic, poses risks to the health of artisans at the time of making. Handling and disposing of these materials require careful management to prevent contamination of soil and water sources. So, as with many developing technologies, new processes have emerged to improve waste management practices, less toxic materials, alternative glazing and surface treatments whilst still capturing the aesthetic to mitigate the environmental impact of ceramic production.
The work of De Morgan & Co. pioneers reflects an absolute commitment to craftsmanship and innovation. William De Morgan’s lustre glazing technique remains a remarkable achievement in the world of ceramics, blending historical inspiration with innovative artistry. As the industry evolves, balancing artistic expression with environmental responsibility continues to be a crucial consideration, ensuring that the beauty of ceramic art can be enjoyed for generations to come.
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Images: Copyright belongs to photographer, Annika Bosanquet.
1) (one of many) Tile panels in Leighton House, 12 Holland Park Road, London. Architect George Aitchison, commissioned by Frederick Leighton, these blue tiles were produced by potter William De Morgan in his Chelsea factory. Inset with restored tiles from Damascus, Syria (thought to date from the late 16th and early 17th centuries) are finished with gold mosaic pieces commissioned from Walter Crane (1845 – 1915) are reminiscent of the mosaics of the La Zisa palace in Palermo, Sicily that Leighton admired so much. The creative direction of the deep turquoise blue throughout evokes the classical myth of Narcissus (the youth who fell in love with his own reflection) and at the centre of this hall, stands a cast statue thought to be him, originally excavated from the ruins of Pompeii in the 19th century.
2) Plumed Bird Vase: 1888-1907 Watts Gallery, Down Ln, Guildford GU3 1DQ.
3) Lustre Vases by De Morgan on display at Leighton House
