ANCIENT LUSTRE RUBBOLI 1873

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ANCIENT LUSTRE RUBBOLI 1873

Lustre tiles

The history of the lustre technique - the application of gold and ruby iridescent layers during a third firing using broom as fuel - is one of the most mysterious and fascinating in the ceramic tradition.

Features

The lustre technique originated in Mesopotamia, during the 9th century. After the Islamic invasion it spread throughout North Africa to Spain. It finally reached Italy, where some of the most important Renaissance artists, including the celebrated Mastrogiorgio from Gubbio, created incredible masterpieces In the 17th century this technique slowly disappeared. It was Paolo Rubboli in Gualdo Tadino who rediscovered the lustre technique, using the information that in 1558 Cipriano Piccolpasso had collected in his book The Three Books of Potter’s Art.

Nowadays, Maurizio Tittarelli Rubboli, Paolo Rubboli’s great-grandson, continues the family tradition and has created this fine collection of lustre tiles specifically for our company, combining the traditional with the contemporary.

Lustre tiles

The history of the lustre technique - the application of gold and ruby iridescent layers during a third firing using broom as fuel - is one of the most mysterious and fascinating in the ceramic tradition.

Features

The lustre technique originated in Mesopotamia, during the 9th century. After the Islamic invasion it spread throughout North Africa to Spain. It finally reached Italy, where some of the most important Renaissance artists, including the celebrated Mastrogiorgio from Gubbio, created incredible masterpieces

In the 17th century this technique slowly disappeared. It was Paolo Rubboli in Gualdo Tadino who rediscovered the lustre technique, using the information that in 1558 Cipriano Piccolpasso had collected in his book The Three Books of Potter’s Art.

Nowadays, Maurizio Tittarelli Rubboli, Paolo Rubboli’s great-grandson, continues the family tradition and has created this fine collection of lustre tiles specifically for our company, combining the traditional with the contemporary.

Finishes

REFLECTIONS

RUBBOLI VERDE CANTARIDE

RUBBOLI BLU DI SÈVRES

RUBBOLI RUBINO ANTICO

ORO CLASSICO

C-ORO CLASSICO

ORO MATT

RAME

ORO BIANCO CLASSICO

REFLECTIONS

RUBBOLI VERDE CANTARIDE

RUBBOLI BLU DI SÈVRES

RUBBOLI RUBINO ANTICO

ORO CLASSICO

C-ORO CLASSICO

ORO MATT

RAME

ORO BIANCO CLASSICO

RICAMI

RICAMI 01

RICAMI 02

Smalti e Lustri

Smeraldo

Glicine

Prugna

Luna

Petrolio

COLORS VARIANTS

Smeraldo

Glicine

Prugna

Luna

Petrolio

Polvere D’Oro

Smeraldo

Colors

FINISHES

Smeraldo

Colors

The fuel should be straw or else willow branches, well dried and free from damp; keep up the fire with these for three hours, after which, when the kiln will be beginning to show a certain glow, take broom or spartium, as Dioscorides calls it, well dried and seasoned, and leaving off the willow give it an hour of fire with this.
The fuel should be straw or else willow branches, well dried and free from damp; keep up the fire with these for three hours, after which, when the kiln will be beginning to show a certain glow, take broom or spartium, as Dioscorides calls it, well dried and seasoned, and leaving off the willow give it an hour of fire with this.