Reduction Lustre Glazed Tiles

Lustre glazed tiles are ceramics at their most alchemical - an iridescent, metallic glow created through reduction firing, where oxygen is deliberately restricted so metallic compounds bond into the glaze as a thin, light-reactive film. With roots in early Islamic lustreware and a celebrated British revival through Arts and Crafts pioneer William De Morgan, lustre sits at the meeting point of ancient kiln knowledge and decorative artistry.

Lustre is typically achieved through a second, lower-temperature firing after the tile has already been glazed and fired once. In that reduced-oxygen atmosphere, the chemistry shifts and the surface develops its characteristic sheen - anything from soft gold and copper warmth to pearlescent or oil-slick tones, depending on the recipe, the kiln, and the hand of the maker.

William De Morgan made a major contribution to the British revival of lustre glazed tiles during the nineteenth century. Drawing closely on Islamic and Renaissance ceramics, he combined persistent technical experimentation with sophisticated pattern and colour, restoring reduction lustre to an important place within British decorative art and tile making.

This tradition was carried forward in the modern era by Margery Clinton (1931-2005), a specialist in reduction lustre glazes whose work helped keep this difficult craft alive. Originally trained as a painter at the Glasgow School of Art (1949-1953), she moved into ceramics in the 1960s and researched reduction lustres at the Royal College of Art in the early 1970s.

She established her workshop at Newton Port in Scotland in 1978, later relocating to Dunbar, and became known for spectacular tile work and architectural commissions. Her work has been shown at institutions including the Tate, the V and A, Glasgow Art Gallery, and the Royal Museum of Scotland.

Within this subcategory, displaying lustre tiles is not just a design choice - it is a homage to Margery Clinton and to the lineage of makers, from De Morgan onward, who treat glaze as true transformation rather than mere surface decoration.

How to Specify Lustre Glazed Tiles

Lustre glazed tiles alter as daylight, lamp direction and viewing position change. They should therefore be assessed at the intended orientation and under the project's proposed lighting, where oblique illumination can reveal metallic flashes, pooling and shifts in colour.

Black Gold and Ember Copper have dense, mineral-like surfaces, while Midnight and Stormfield are more painterly. Each may be considered as a singular ceramic work within a niche, framed panel or joinery insert.

Selection, Mounting and Care

Before installation, confirm the dimensions, weight, edge condition, quantity and approved mounting method. Where lustre glazed tiles are unique or archival, a reversible frame or fitted support may be more appropriate than permanent adhesive fixing.

Bathroom, kitchen and fireplace locations require project-specific confirmation. View the exact piece where possible and clean only with a soft cloth or brush, avoiding abrasive or strongly acidic products unless De Ferranti advises otherwise.

Project Guidance and Enquiries

For project guidance, availability, pricing, samples or further information, please use the Send E-Mail button below this description. Your enquiry will come directly to De Ferranti, and we will be pleased to discuss suitability, quantities, lead times and options for your project.