In 1897 William Moorcroft was employed as a designer at James Macintyre & Co. Being a keen experimenter with a background in ceramic chemistry, he introduced an array of new wares and glazes to the production line. However, it was the launch of ‘Florian Ware’, one year later, that really cemented his reputation as a talented designer and ceramicist.
Florian Ware comprises an arrangement of sinuous flowing lines and intricate foliate patterns, outlined using an applied raised slip, a technique known as tubelining. Moorcroft was meticulous and oversaw every stage of production to ensure the highest quality.
Florian Ware was the first range for which Moorcroft signed his name or initials on every piece he helped produce. Over the next few years, richer colours were introduced and several new patterns were registered. The charming designs of trees amongst rolling hills in an English countryside caught the eye of Liberty’s in London, and a partnership was soon struck between Moorcroft and the company. Liberty’s remained a major outlet of his pottery, as did other significant retailers like Harrod’s and Tiffany & Co. In 1912 Moorcroft’s relationship with the directors at James Macintyre disintegrated and in 1913, with the financial backing of the Liberty family, he opened his own pottery in Cobridge.
He was inundated with orders from distributors keen to support his venture, and many popular patterns from the Macintyre period such as Spanish, Pomegranate, Hazeldene and Claremont, continued to be produced at Cobridge. He was also keen to develop his particular interest in his Florian-style designs and some of these early Macintyre patterns were revived and redeveloped in bolder forms and richer colours from the late 1920s.
By the 1930s, tastes were beginning to change and whilst English native flowers always remained central to his most popular wares, Moorcroft started to look further afield for new inspiration. Charles Noke, Bernard Moore and other of Moorcroft’s contemporaries had a growing interest in the high-fired Oriental wares which produced the most intense and dramatic effects. To achieve these flambé glazes Moorcroft built his own special kiln and was highly secretive about his methods. The wares produced were arguably some of his most remarkable, given the complex and demanding nature of the skills required. Whilst other potteries sought to deliver a consistent sang de boeuf or deep red colour, Moorcroft embraced the unpredictable nature of the kiln and the eccentric array of colourful glazes it could produce, which allowed every piece to be unique.
Walter Moorcroft took over management of the pottery after his father’s death in 1945. During a few difficult years of transition, his father’s designs were crucial in ensuring the success and continuation of the business. Soon however, Walter developed his own style which matured into the 1950s.
Whilst William had a clear preference for using English flowers and landscapes in his designs, Walter was fascinated by more exotic species, leading to the emergence of patterns such as Hibiscus, Arum Lily, Caribbean and Marine and dramatic use of colour. Like his father, Walter was also knowledgeable on the firing process which allowed for continuing production of flambé wares. In 1998 the pottery established a new Design Studio, led by Senior Designer Rachel Bishop. In this new era Moorcroft has further expanded its range of products, building on William and Walter’s legacy.
