What is it about jugs that makes them so desirable and attractive? They are so round and cozy, so colorful and so varied in their shapes and styles. Even the name "jug" expresses their character -- simple, solid and folksy. In concept a simple thing: a vessel to contain liquid, with a spout for pouring and a handle for lifting; but human ingenuity has created a great variety both in shape and decoration.                   

Jugs can be used in so many ways -- to contain liquid or flowers, or clustered on a table or mantelpiece; and they are charming combined with Staffordshire figures and other pottery -- a welcome change from the usual plate on a stand. King-Thomasson specializes in silver and pink lustreware jugs, so the following will be devoted to that subject.

The period in England that was the richest and most prolific for all types of lustre jugs was from the early to mid 19th century. After about 1850 the fashion and taste for lustreware declined in favor of other sorts of decoration, so this period of 50 years, with several hundred potteries across England producing a huge variety in color and design, is where we look today for our collections.

Commemorative jugs were used as wedding and birth gifts, with appropriate initials and dates, or to memorialize a fallen hero or a victory in a great battle. Many had transfer prints of famous men (Washington or Nelson for example) or transfers of great inventions such as the iron bridge at Sunderland. There were jugs with themes from nature, birds and animals, hunting scenes with dogs and game, and jugs with mythological subjects.

Lustreware is not a type of pottery. It is a type of decoration that can be applied to any form of ceramic body, be it pottery or porcelain.

Lustre decoration was formed from metal dissolved in acid and applied as a thin film on top of the glaze, either with a brush or in some cases by dipping. The object was then fired, reducing the oxidized metal in the lustre solution to its original metallic from. Minute quantities of gold achieved the pink and copper colors and platinum, the silver.

The lustre was always applied over glaze, for it had to be fired at a much lower temperature. If there were other decorations such as enamel to be added, the lustre was the last to go on. The color of the body of the object being lustred also determined the color or effect; light, white or dark clay.

Silver resist decoration was achieved by drawing on the decoration with a "size" or repellent, to which the lustre would not adhere; and then the size was washed away after the lustre was applied, just as in batik decoration.

Sometimes a colored slip or glaze was used, as in the yellow or buff wares.

Virtually none of the pottery from this period was marked by the potter by date or by the company. If there is such a mark, it quite likely comes from a later date.

The main centers for the production of lustreware were Staffordshire in NW England, Leeds in Yorkshire, Swansea in South Wales, and Bristol, the great port of the west country.

Beginning a collection of lustreware jugs need not be a frustrating experience, as there are still many to be found in this country. Lustreware was very popular in America, and a great deal was exported for the American market. Many collections were formed. When these collections are dispersed, the lustreware turns up on the market.

References:
Gibson, Michael. 19th Century Lustreware. Antiques Collectors' Club.
Godden, Geoffry and Michael Gibson. Collecting Lustreware. Barrie and Jenkins.