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Rather the term is applied to more modern techniques where the iridescence is produced by applying a film on top of a glaze, by hand painting or perhaps by dipping, the decorative design being formed from metals, a different metal, such as copper, gold or platinum with other metals also such as tin, according to the intended colour of the finished piece.Those techniques came into usage in England in the very early years of the 19th century. To search for specific text on this page, just press 'CTRL F' & then enter your search term. And in fact a 3rd pottery, page 175, just for Sunderland verses, available here.And, so far, at least, has made heavy weather of learning about the whole subject of potteries.Michael Gibson (see next paragraph) describes that process as being relatively easy when transferring the design to a flat surface but rather harder when applied to the typically curved surface of a piece of pottery. May I suggest that you obtain a copy of specialist volumes on the subject.And that pieces of pottery often exhibit 'creasing' of the design as a result & sometimes the design was even transferred to a piece of pottery of too small a size. The method would seem to have been discovered by Sadler and Green at Liverpool in about 1750. 'Antiques Digest' mention also 'blueprinting', an essentially Staffordshire process, of decorative scenic & oriental scenes. And particularly perhaps a 191 page volume entitled '19th Century Lustreware', written by Michael Gibson, initially published in 1999 by 'Antique Collector's Club', but republished later.
While items come up for sale, every day, on e-Bay, there are very few listings that provide images of the quality I prefer to feature in these pages. The vendors' purposes are clearly not to please me or you, the reader of these pages. And shipping to both import fine clays from elsewhere & to export the manufactured product.
And I have located other words which further explain the process also.
I read that the copper plate is first inked with warm printing ink, & then wiped - which leaves the ink only in the engraved lines.
But with no indication of exactly which particular pottery was represented. Even that, to a non-expert in the field of pottery has proved to be amazingly difficult.
Maybe one from Stoke on Trent, my Sunderland 'reporter/researcher' Andy Dennis thinks. I have accessed a vast number of WWW sites to try to obtain an understanding that would permit me to explain here exactly what 'lustreware' is, but so far with limited success.
Now 'Sunderland lustreware' so often features images of places, ships, people & verses, and I understand that such images were applied by means of a transfer. So a lustre piece would so often incorporate transfer printing as well. I read that the designs were created on copper plates, which plates often became owned by other potteries when a pottery failed, moved or was purchased.