


This bronze lustre tile from De Ferranti’s personal archive is an original ceramic work by Margery Clinton, with a near-black ground and a restrained kiln-born shimmer of bronze, smoke and occasional blue. An additional firing in reduced oxygen drew the metallic depth from within the glaze, creating a surface that reveals itself gradually rather than through immediate brightness.
Darker and quieter than Clinton’s more openly gestural pieces, Nocturne Bronze is defined by density, fine texture and scattered reflection. The charcoal field contains small pits, irregular glossy passages and low bronze-gold glints that appear and disappear as the viewer moves. Its softened edges and local variation preserve evidence of heat, atmosphere and the maker’s willingness to let the kiln participate in the finished composition.
Historically, lustre was valued for its response to changing daylight and low lamplight. This piece offers a particularly subtle contemporary expression of that quality. It can look almost black from a distance, then disclose copper, bronze and blue notes at close range under an oblique source.
Compare its subdued surface with the denser Black Gold lustre tile and warmer Ember Copper tile. For related dark and metallic ceramic surfaces elsewhere in the collection, the E-Series Obsidian Metal Glaze Brick offers a disciplined black wall module, while The East 4 – Gold uses faceted geometry to create a brighter reflective field.
This bronze lustre tile is best placed where it can be approached closely, such as a framed grouping, library shelf, cabinet reveal or deep wall niche. Test a small directional lamp at the intended viewing height, avoiding a frontal beam that may flatten the glaze or create one dominant reflection. Confirm the mounting method and any proposed bathroom, kitchen or fireplace exposure before installation.
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