A VERY BRITISH POTTER

One of the last remaining independent art potteries in Britain, Moorcroft opened its factory doors in 1913 and is still operating on the same site today.

‘The way Moorcroft is made has not changed in more than a century, making it instantly recognisable,’ says Catherine Edwards, head of marketing at Moorcroft.

And it’s this, as well as ‘quality standards and creating a beautiful product’ that she believes has helped Moorcroft endure.

William Moorcroft started his career in 1897 at the large ceramic company James Macintyre & Co, in Burslem, Stoke-on-Trent. Twentyfour years of age and hugely ambitious, Moorcroft was initially given the task of preparing transfer prints for his fi rst designs for the red, blue and gold Aurelian Ware range.

The designs may have been his, but transfer printing was not fi neart pottery. As a result, he did not sign any of this early work for fear of blemishing his fl edgling reputation.

The young potter was also a chemist and worked on the idea of tubelined designs. He experimented with metal oxide colours, and eventually developed his Florian Ware – and he signed each piece.

In 1904, Moorcroft won a gold medal at the St Louis International Exhibition in the United States, which led to stores, such as Tiff any, stocking his work. Liberty, in London, opened an account with him.

The name Moorcroft was now known worldwide and he had become more famous than James Macintyre & Co, the company he was still working for. Inevitably, Moorcroft split from the company in 1912, moving to a new, Liberty-funded factory.

This move saw the creation of numerous new designs. Pomegranate, Cornfl ower, and the famous Spanish pattern made their fi rst appearances. But this all ground to a halt at the outbreak of the First World War.

Moorcroft kept the factory running by making shaving mugs for the troops on the front line (‘offi cers, for the use of’). But constant support from Liberty saw designs such as Pomegranate being reproduced once the war had ended.

Two further designs were created – Moonlit Blue and Eventide – and in 1928, W Moorcroft Limited was appointed Potter to Her Majesty the Queen.

During William Moorcroft’s 48 working years he produced 64 designs. His son, Walter, who took over when his father died in 1945, produced a further 18. Following fi nancial diffi culties in 1984, Walter sold his interest in the company, remaining a designer until his retirement three years later.

The new owners uncovered tea chests full of pieces that had been stored away at the outbreak of the First World War and formed the basis of a new on-site museum. The one surviving bottle oven was also restored.


The Moorcroft output was updated by designer Sally Tuffi n and birds and animals appeared for the fi rst time. In 1993, Rachel Bishop, at the time an unknown designer, took over. Looking back and referencing Moorcroft’s original designs, she has created many ranges over the years, the most recent being the charming Crimson Rambler and Earthly Paradise.

‘We have some of the best ceramic designers Britain has to off er. The future of Moorcroft looks exciting,’ says Catherine Edwards. ‘We feel very proud of our heritage and wonderful talent within our midst.’

Still being made in Stoke-on- Trent, Moorcroft pottery, old and new, fetches high prices in the world’s major salerooms. 

The Lady readers can book a free factory tour by calling 01782-820500 and quoting ‘TheLadysummer13’, www.moorcroft.com