Metallic & Pearlescent Tiles
These metallic and pearlescent tiles bring light, depth and atmosphere into an interior. From gold, through softly faded silver, to burnished bronze and time-worn copper, the finishes move between reflection and absorption.
The collection explores the alchemy between clay and metal. Specialist glaze combinations transform fired ceramic into surfaces that evoke églomisé, gold leaf, aged brass, oxidised copper, antique silver and the changing sheen of natural shell.
Pearlware belongs within this wider history, but it is not another name for the category.
Developed by Staffordshire potters from the mid-1770s and marketed by Josiah Wedgwood as Pearl White around 1779, pearlware used a small cobalt addition in a clear lead glaze to cool the yellow cast of earthenware. Its bluish-white appearance helped emulate imported Chinese porcelain. Mother-of-pearl lustres followed a different material route: translucent, low-fired overglazes applied over an existing glaze to create nacre-like iridescence.
Finishes range from mirror-like to softly patinated, distressed and near-matte. Crackle, brushed texture, layered glazes, verdigris tones, smoky oxidation and darkened edges produce variation reminiscent of naturally aged metal. Relief and geometry further shape the effect, causing each surface to change with the light and the movement of the viewer.
Byzantine gold-ground mosaics offer an important visual precedent, although their leaf-backed glass tesserae differ from ceramic glaze. The more direct ceramic lineage begins with ninth-century Islamic lustreware, where silver and copper compounds were fired over glaze in reduced oxygen. The craft travelled through Egypt, Iran, Islamic Spain and Renaissance Italy, then inspired later makers including William De Morgan.
De Ferranti interprets these traditions through contemporary ceramic practice rather than literal reproduction. Cosmos Ceramic Tiles - Model 1 explores domed metallic colour, while Byzantino 2 - Charcoal and Bronze places warm reflective accents within a dark geometric field.
Review representative samples and, for larger schemes, a full-size panel under the intended lighting. Orientation, relief, grout, joints and edge detailing can alter the surface as much as the glaze itself. Wet-area, floor, exterior and fireplace suitability should always be confirmed for the individual product.
For project guidance, availability, pricing, samples or further information, please contact us. Your enquiry will come directly to De Ferranti, and we will be pleased to discuss suitability, quantities, lead times and options for your project.
The collection explores the alchemy between clay and metal. Specialist glaze combinations transform fired ceramic into surfaces that evoke églomisé, gold leaf, aged brass, oxidised copper, antique silver and the changing sheen of natural shell.
Pearlware belongs within this wider history, but it is not another name for the category.
Developed by Staffordshire potters from the mid-1770s and marketed by Josiah Wedgwood as Pearl White around 1779, pearlware used a small cobalt addition in a clear lead glaze to cool the yellow cast of earthenware. Its bluish-white appearance helped emulate imported Chinese porcelain. Mother-of-pearl lustres followed a different material route: translucent, low-fired overglazes applied over an existing glaze to create nacre-like iridescence.
Finishes range from mirror-like to softly patinated, distressed and near-matte. Crackle, brushed texture, layered glazes, verdigris tones, smoky oxidation and darkened edges produce variation reminiscent of naturally aged metal. Relief and geometry further shape the effect, causing each surface to change with the light and the movement of the viewer.
The History of Metallic and Pearlescent Tiles
Byzantine gold-ground mosaics offer an important visual precedent, although their leaf-backed glass tesserae differ from ceramic glaze. The more direct ceramic lineage begins with ninth-century Islamic lustreware, where silver and copper compounds were fired over glaze in reduced oxygen. The craft travelled through Egypt, Iran, Islamic Spain and Renaissance Italy, then inspired later makers including William De Morgan.
De Ferranti interprets these traditions through contemporary ceramic practice rather than literal reproduction. Cosmos Ceramic Tiles - Model 1 explores domed metallic colour, while Byzantino 2 - Charcoal and Bronze places warm reflective accents within a dark geometric field.
Specifying Glaze, Relief and Light
Review representative samples and, for larger schemes, a full-size panel under the intended lighting. Orientation, relief, grout, joints and edge detailing can alter the surface as much as the glaze itself. Wet-area, floor, exterior and fireplace suitability should always be confirmed for the individual product.
Project Guidance and Enquiries
For project guidance, availability, pricing, samples or further information, please contact us. Your enquiry will come directly to De Ferranti, and we will be pleased to discuss suitability, quantities, lead times and options for your project.
By Appointment
DE FERRANTI
South Park Studios - Suite 10
88 Peterborough Road, London SW6 3HH
United Kingdom
DE FERRANTI
South Park Studios - Suite 10
88 Peterborough Road, London SW6 3HH
United Kingdom