Description: 5 piece Lusterware - type of pottery with a metallic glaze that gives the effect of iridescence, produced by metallic oxides in an overglaze finish, which is given a second firing at a lower temperature in a "muffle kiln", reduction kiln, which excludes oxygen.. 1.Large Vase- (12" x7" x 4.5") 2..Small vase- Regal ware, Alderss & Craydon 3. Medium vase - Coronet 4. Pink Cylindrical Vase-made in Germany. 5.Short Oval dish-Fraunfelter

History: Lusterware became popular in Staffordshire during the 19th century, where it was also used by Josiah Wedgwood, who introduced pink and white lustreware simulating mother o' pearl effects in dishes and bowls cast in the shapes of shells, and silver lustre, introduced at Wedgwood in 1805. In 1810 Peter Warburton of New Hall[disambiguation needed] patented a method of transfer-printing in gold and silver lustre. Sunderland Lustreware in the North East is renowned for its mottled pink lustreware, and lustreware was also produced in Leeds, Yorkshire, where the technique may have been introduced by Thomas Lakin.[13] Wedgwood's lusterware made in the 1820s spawned the production of mass quantities of copper and silver lustreware[14] in England and Wales. Cream pitchers with appliqué-detailed spouts and meticulously applied handles were most common, and often featured stylized decorative bands in dark blue, cream yellow, pink, and, most rare, dark green and purple. Raised, multicolored patterns depicting pastoral scenes were also created, and sand was sometimes incorporated into the glaze to add texture. Pitchers were produced in a range of sizes from cream pitchers to large milk pitchers, as well as small coffeepots and teapots. Tea sets came a bit later, usually featuring creamers, sugar bowls, and slop bowls. Large pitchers with transfer printed commemorative scenes appear to have arrived around the middle of the 19th century. These were purely decorative and today command high prices because of their historical connections. Delicate lustre imitating mother-of-pearl was produced by Wedgwood and at Belleek in the mid-century, derived from bismuth nitrate.[15] Under the impetus of the Aesthetic Movement, William de Morgan revived lustrewares in a manner more reminiscent of lustred Hispano-Moresque wares. In the United States, copper lusterware became popular because of its lustrousness. Apparently, as gaslights became available to the rich, the fad was to place groupings of lusterware on mirror platforms to be used as centerpieces for dinner parties. Gaslights accentuated their lustrousness.[

Provenance: N/A

Dimensions: Weight (Pounds & Ounces) = 8 | Height(in) = 20 | Width(in) = 20 | Depth(in) = 20

Size of Artwork(in): 12' x 7" x 4.5"

Artist Name: variety

Medium: Pottery

Circa: C. first half 20th century

Upon inspection no damage or restoration observed.