Moorcroft Exhibition History: Volume 1 (1897-1945)
The Early Years & William Moorcroft Era
A Comprehensive Collector’s Guide to Major Exhibitions and Showcases
Introduction: A Legacy Forged Through Exhibitions
Between 1897 and 1945, William Moorcroft transformed British art pottery through strategic exhibition appearances that established his reputation as one of the greatest ceramic artists of the twentieth century. This first volume chronicles the remarkable journey of Moorcroft pottery through its most formative decades, when exhibitions served not merely as sales opportunities but as platforms for artistic innovation and international recognition.
From his first designs at James Macintyre & Co. in 1897 to his death in 1945, William Moorcroft participated in dozens of major exhibitions across three continents, winning gold medals, royal warrants, and the admiration of collectors worldwide. Understanding this exhibition history is essential for serious Moorcroft collectors, as exhibition pieces often represent the finest examples of craftsmanship and innovation from each period.
This volume focuses on three major international exhibitions that defined Moorcroft’s career—the 1904 St. Louis World’s Fair, the 1924-25 British Empire Exhibition at Wembley, and the 1925 Paris Exposition—alongside his regular appearances at Britain’s premier trade showcase, the British Industries Fair. Together, these exhibitions tell the story of an artist-potter who refused to compromise his vision, even when facing economic depression, world wars, and industry pressure to mass-produce cheaper wares.
Chapter 1: The Macintyre Years (1897-1913)
The Beginning: 1897
In 1897, a 24-year-old William Moorcroft joined Staffordshire pottery manufacturers James Macintyre & Co. Ltd. as a designer. A graduate of what is now the Royal College of Art in London, Moorcroft brought with him a sophisticated understanding of ceramics, having studied ancient and modern pottery at the British and South Kensington Museums. His timing proved fortuitous: the British art pottery movement was flourishing, and retailers like Liberty of London, Harrods, and Tiffany & Co. were eager for innovative designs that captured the spirit of the emerging Art Nouveau movement.
Within just one year of his appointment, Moorcroft was promoted to head of Macintyre’s art pottery studio—an extraordinary achievement that spoke to both his talent and the immediate commercial success of his designs. His first major contribution was Aurelian Ware, featuring transfer-printed and enamelled decoration in bold red, blue, and gold colours that reflected the high-Victorian aesthetic still popular in the late 1890s.
But it was Moorcroft’s next innovation that would change everything.
Florian Ware: The Revolutionary Design
By 1898, Moorcroft had developed the art nouveau-influenced range that would make his name: Florian Ware. This collection was decorated entirely by hand using a technique called “tube-lining”—piping liquid clay (slip) onto the pottery surface to create raised outlines, much like icing a cake. The technique wasn’t entirely new; Medieval potters had used similar methods. But Moorcroft refined the process to an unprecedented level of precision, using a white porcelain-like body capable of withstanding high temperatures. This maintained the crisp precision of the tube-lined outlines and helped contain the different metal oxide colours within each section of the design.
The flowing, organic lines of Florian Ware captured the essence of Art Nouveau, with intricate floral motifs that seemed to grow organically across the surface of vases, bowls, and decorative pieces. What made these pieces truly distinctive was Moorcroft’s use of vibrant colours—peacock blues, rich greens, warm yellows, and deep purples—all enhanced by translucent glazes that gave the pottery a jewel-like luminosity.
Perhaps most remarkably for a factory-employed designer, Moorcroft insisted on personally signing or initialing every piece he oversaw. This practice, almost unheard of in commercial pottery production, raised his profile above that of his employer and would eventually contribute to tensions with Macintyre’s management. But it also created an invaluable legacy for collectors: signed Moorcroft pieces carry a personal guarantee of quality and oversight that few other pottery manufacturers of the period could match.
Early Florian Patterns (1898-1904):
Florian Peacock – Elegant peacock feather designs in blues and greens
Florian Iris (1898) – Stylized iris flowers with flowing stems
Florian Poppy (1898) – Bold poppy designs that became highly collectible
Florian Cornflower – Delicate cornflower motifs in various colourways
Green and Gold Florian (c.1903) – Gilded floral decoration on green and blue grounds
Innovation and Experimentation: 1901-1904
The early 1900s saw Moorcroft moving beyond his initial Florian successes to experiment with an astonishing range of designs and techniques. By 1902, he had introduced several groundbreaking patterns:
Hazeldene (1902) – One of Moorcroft’s first landscape designs, featuring minimalist trees in a landscape setting. This pattern explored different palettes: blue on blue, green on green, or green on white, creating atmospheric scenes that would remain popular for decades. Liberty & Co. placed orders in April 1902 for “the new ware with trees in a variety of forms,” recognizing the commercial potential immediately.
Claremont (1903) – Perhaps no Moorcroft pattern is more instantly recognizable than Claremont, with its distinctive toadstool motifs. Moorcroft’s notebooks from early 1903 contain numerous sketches of fungi in different sizes and aspects, along with notes about treatment. He expanded his colour palette significantly for this design, introducing different shades of red and orange, and achieving what he described as “a more harmonious combination, a softer bleeding of colour.” The design was often produced with a distinctive mottled blue-green ground that gives the toadstools a dream-like, almost magical quality.
Claremont was frequently made for Liberty & Co., marked “Made for Liberty & Co.” with registration number 420081 for circa 1910 pieces. The pattern proved so popular that it remained in production well into the 1930s, and today Claremont pieces from any period command strong prices at auction. A private collection offered at Sworder’s in 2024 included 32 examples of this pattern alone.
Tudor Rose (1904) – Commissioned exclusively by Liberty & Co., this pattern featured a more traditional rose motif but in a quite new palette set on a distinctive jade ground. Moorcroft used it to experiment with running glaze effects that would become characteristic of his later work.
Flamminian Ware – This range showcased Moorcroft’s growing interest in lustre glazes, with largely monochromatic designs in rich reds or pale greens that suggested Celtic or Japanese influences. These pieces, though functional, were made primarily for show, appealing to fashion-conscious collectors who valued artistically conscious design.
Liberty & Co.: A Crucial Partnership
Throughout the Macintyre period, Moorcroft’s relationship with Liberty & Co. of London proved crucial to his success. Liberty’s wasn’t simply a retailer; the company actively shaped British art pottery by supporting talented designers and commissioning exclusive patterns. The famous London store stocked Moorcroft’s ceramics alongside work by other leading art pottery makers, positioning them as essential acquisitions for the aesthetically conscious middle and upper classes.
Liberty’s influence extended beyond sales. In 1904, Moorcroft met with Alwyn Lasenby (Liberty’s cousin) to discuss “the application of pottery to mounting in pewter.” This collaboration resulted in some of the most distinctive Moorcroft pieces: vases, bowls, and even inkwells with pewter or silver mounts created in Liberty’s workshops. These metalwork additions, often in the Art Nouveau style pioneered by designer Archibald Knox for Liberty’s “Tudric” pewterware range, complemented Moorcroft’s ceramic designs perfectly and allowed for unusual shapes that wouldn’t have been possible in pottery alone.
A Liberty order from June 1, 1904, was characteristic of their collaboration, showing the breadth of forms and patterns they commissioned. This relationship would prove even more significant in 1913, when Liberty’s financial backing enabled Moorcroft to establish his own pottery.
Imitation and Protection
Success brought imitators. In February 1903, Lasenby wrote to Moorcroft alerting him that a London firm was selling copies of his ware, albeit without his signature. This early encounter with counterfeiting reinforced the importance of Moorcroft’s practice of signing his work and maintaining rigorous quality control. The Pottery Gazette drew attention to this issue at the end of 1903, noting that Moorcroft had “complete control and oversight of production”—an unusual level of involvement for a designer that guaranteed authenticity and quality.
The copying of Moorcroft’s designs wasn’t just a commercial problem; it threatened to debase the aesthetic principles he championed. His designs weren’t merely decorative patterns to be reproduced indiscriminately. Each piece required skilled tube-liners and paintresses, careful glaze chemistry, and precise kiln control. Mass-produced imitations lacked the soul of true Moorcroft pottery.
Chapter 2: The 1904 St. Louis World’s Fair – International Breakthrough
The Louisiana Purchase Exhibition
The 1904 Louisiana Purchase Exhibition in St. Louis, Missouri, represented William Moorcroft’s international breakthrough. This grand World’s Fair commemorated the centenary of the Louisiana Purchase and attracted exhibitors from around the world, all competing to showcase their nations’ industrial and artistic achievements.
For Moorcroft, still working under the Macintyre name, this exhibition represented an opportunity to present three years of intensive experimentation and refinement. His display included the full range of Florian Ware patterns that had made his reputation in Britain: Peacock, Iris, Poppy, and Cornflower designs that captured the essence of Art Nouveau with their flowing lines and vibrant colours.
But Moorcroft also included more adventurous pieces that demonstrated the full scope of his ambitions as a potter. His toadstool designs—soon to be formalized as the Claremont pattern—showed his expanding palette and the “softer bleeding of colour” he had worked so hard to achieve. He even included fish designs, produced in very small numbers, with an implied allusion to Émile Gallé’s celebrated carp vase that had caused a sensation at the Paris World’s Fair in 1878.
Gold Medal Triumph
The results exceeded all expectations. Moorcroft’s Florian Ware won not one but two Grand Prix awards at the St. Louis Exhibition—the highest honours available. This international recognition, from a jury that included some of the world’s leading authorities on decorative arts, validated Moorcroft’s approach to pottery as an art form.
The gold medals had immediate practical consequences. Prestigious stores like Tiffany & Co. in New York, which had been cautiously stocking a few Moorcroft pieces, now became major customers. The international acclaim also strengthened Moorcroft’s position at Macintyre’s, at least temporarily, as the company basked in the reflected glory of their designer’s achievements.
For collectors today, pieces that can be documented to the St. Louis exhibition period (1904) represent some of the most sought-after Moorcroft pottery. The combination of historical significance, technical mastery, and the peak of Moorcroft’s Florian period makes these pieces especially valuable. A Florian Ware vase from this era can command prices from £500 to several thousand pounds, depending on size, pattern, condition, and provenance.
Impact on Moorcroft’s Reputation
The St. Louis triumph established William Moorcroft’s international reputation at a crucial moment in his career. The Pottery Gazette praised his work, and collectors from around the world began seeking out his pottery. Reports from the exhibition noted that visitors from Australia, Canada, New Zealand, and South Africa expressed particular interest in collecting Moorcroft pieces—a global following that would sustain the business through many challenges in the decades ahead.
The recognition also reinforced Moorcroft’s conviction that pottery could be art, not merely craft or commerce. This belief would shape his approach to exhibitions throughout his career, sometimes bringing him into conflict with trade organizations and government selection committees who viewed pottery primarily as an industrial product.
Chapter 3: Growth and Independence (1905-1913)
New Patterns for a New Century
The years following the St. Louis triumph saw Moorcroft continue his creative expansion with some of his most enduring designs:
Spanish (originally “Moorish”) (1910) – A stylized floral design featuring the rich, luxurious colours that Moorcroft had announced to Alwyn Lasenby in 1909. This pattern demonstrated his mastery of glaze chemistry, with deep blues, vibrant reds, and touches of yellow creating an exotic, jewel-like effect.
Pomegranate (1910) – Perhaps the most commercially successful of all Moorcroft patterns, Pomegranate featured the fruit and foliage in various colourways and remained in production for more than twenty years. A special order from Liberty’s in June 1910 to the value of £400—a substantial sum—demonstrated the immediate commercial appeal. Liberty’s sold this design under the name “Murena.” The pattern worked beautifully on vases of all sizes, from miniatures to large exhibition pieces, and its popularity has never truly waned. Pomegranate pieces from any period remain readily available at auction and provide an accessible entry point for new Moorcroft collectors.
Pansy (1911) – Delicate pansy motifs against white or light cream backgrounds, showcasing Moorcroft’s ability to create both bold, colourful designs and restrained, elegant patterns.
Wisteria (1910) – Another delicate floral design that stood out against light backgrounds, demonstrating the exceptional craft of Moorcroft’s tube-liners and paintresses.
The 1910 Brussels International Exhibition
In 1910, Moorcroft participated in the Brussels International Exhibition, displaying his work in the British Industrial Hall’s Ceramic Court, which occupied “a splendid position right in the centre” of the British pavilion. A journalist praised Moorcroft’s floral designs in blue on white for their restraint and restfulness: “The colouring in soft greyish blue is soothing to the eye. The shapes are very graceful, and their gentle curves and those of the decorations suggest the best characteristics of the ‘art nouveau’ with none of its extravagance.”
The Pottery Gazette carried a photograph of Moorcroft’s display in November 1910, showing vases, jugs, and bowls in Toadstool, Floral Spray, and Eighteenth-Century designs, along with a variant of Cornflower in yellow and blue. British potteries won great acclaim at Brussels, with six manufacturers receiving top awards.
However, tragedy struck on the night of August 14, 1910, when fire completely destroyed the Belgian and British Sections of the exhibition. Moorcroft, like many other exhibitors, lost all his displays. The Pottery Gazette called the accident “little short of a national calamity,” noting the enormous economic and cultural loss. Despite this setback, the Brussels exhibition demonstrated that Moorcroft’s international reputation, established at St. Louis, remained strong.
Growing Tensions with Macintyre
By 1910, the success of William Moorcroft’s signed pottery had begun to create significant tensions with his employers. James Macintyre & Co. had initially benefited from Moorcroft’s fame, but increasingly they felt overshadowed by their own designer. The company’s name appeared only in small print on bases, while Moorcroft’s signature dominated each piece.
Moreover, Moorcroft’s insistence on the highest standards of production, with extensive hand-decoration and expensive glaze experiments, made his art pottery division far more costly to operate than Macintyre’s other manufacturing activities. The tube-lining technique, while stunning in its results, required highly skilled workers and was time-consuming. Each piece needed individual attention through multiple stages of production, and Moorcroft’s personal oversight of every aspect meant that production volumes remained relatively modest.
The relationship deteriorated through 1911 and 1912. Moorcroft, now 40 years old and at the height of his creative powers, began to consider establishing his own pottery. He had influential supporters: Liberty & Co. depended heavily on Moorcroft designs for their ceramics department, and major collectors and critics championed his work. When Macintyre’s decided in 1912 to close down Moorcroft’s studio, the designer already had a contingency plan.
The Birth of W. Moorcroft Ltd. (1913)
With substantial financial backing from Liberty & Co.—specifically from Alwyn Lasenby, cousin of Liberty’s founder—William Moorcroft opened his own pottery in 1913 at Sandbach Road, Cobridge, in Burslem. This building, with its distinctive bottle kilns, would remain the home of Moorcroft pottery for more than a century.
Many workers from Moorcroft’s Macintyre studio joined him at the new factory, ensuring continuity of craftsmanship and techniques. Popular patterns like Spanish, Pomegranate, Hazeldene, and Claremont continued in production, though often in bolder colours and richer glazes as Moorcroft gained complete control over his palette and firing processes.
The timing, just one year before the outbreak of World War I, might have seemed inauspicious. But Moorcroft’s established reputation, his loyal customer base, and Liberty’s continued support saw the new venture through its early challenges. The move to independence would prove crucial to Moorcroft’s ability to maintain his artistic vision and to present exhibition pieces that truly represented his capabilities as a potter.
For collectors, the transition year of 1913 offers fascinating opportunities. Pieces marked with the late Macintyre/early Moorcroft stamps provide tangible evidence of this pivotal moment in pottery history. The Moorcroft factory would continue to use many of the same moulds and patterns, but with an increasing emphasis on richer colours and more dramatic glazes that distinguished the Cobridge period from the Macintyre years.
Chapter 4: The War Years and Recovery (1914-1923)
Survival Through World War I
The outbreak of World War I in August 1914, just a year after Moorcroft established his independent pottery, threatened to destroy the fledgling business before it could fully establish itself. Many British pottery manufacturers reduced operations dramatically or closed entirely as male workers enlisted, raw materials became scarce, and domestic and export markets collapsed.
Remarkably, Moorcroft managed to keep his factory operating throughout the war years, though at reduced capacity. His commitment to his workforce was extraordinary. During the colliery strikes of 1920 and 1921, when coal supplies were exhausted, Moorcroft used wood to fire his kilns—one of very few manufacturers to maintain full-time operations through these crises. This dedication to continuous production preserved the skills of his workforce and maintained market presence when competitors had withdrawn.
The war years saw limited new design work, but demand for Moorcroft’s established patterns—particularly Pomegranate, Claremont, and Hazeldene—remained steady among those collectors who could still afford luxury pottery. Liberty of London continued to stock Moorcroft throughout the war, providing a crucial retail outlet and financial lifeline.
Post-War Revival: The British Industries Fair
From 1915 onwards, the British Industries Fair (BIF) became Britain’s premier annual trade show, initially conceived to encourage production of goods that would otherwise be imported from Germany. By 1920, the BIF had grown into a major international trade event, held at twin venues in London and Birmingham, attracting buyers from around the world.
Moorcroft exhibited at the 1920 BIF and found his stand attracting extensive international interest. Following this fair, he sent Claude Taylor at the Department of Trade a list of orders that demonstrated the global appeal of his pottery: France, Belgium, Holland, Spain, Sweden, Canada, United States, South Africa, Australia, Ceylon (Sri Lanka), Chile, and Brazil. Few other British potteries could claim such a diverse export market.
The BIF exhibits became crucial not only for sales but for maintaining Moorcroft’s reputation during economically challenging times. When other firms questioned the commercial benefit of attending the Fair during the 1921 miners’ strike, Moorcroft exhibited as always. Claude Taylor wrote to him expressing gratitude for the continued support of “a really whole-hearted supporter like yourself.”
Financial Success in Difficult Times
Despite the economic challenges of the immediate post-war period, Moorcroft’s business thrived. In 1918-19, he declared a profit of more than £1,704—a significant improvement on the previous year’s loss. By 1922-23, his profit had grown to £7,895, an increase of more than four and a half times. This financial success during a period when many pottery manufacturers struggled or failed demonstrated the strength of Moorcroft’s business model: producing high-quality art pottery for a loyal collector base that valued craftsmanship and artistic vision.
The profits came not from mass production or cost-cutting but from William Moorcroft’s unwavering commitment to quality. Each piece still bore his signature or initials. Tube-lining remained a hand process. Glazes were carefully mixed and tested. Kilns were fired with the same attention to colour and effect that had characterized Moorcroft’s work since his Macintyre days. In an age increasingly dominated by industrial mass production, Moorcroft proved that traditional craftsmanship could not only survive but flourish.
British Institute of Industrial Art Exhibitions
During the early 1920s, Moorcroft participated in several exhibitions organized by the British Institute of Industrial Art (BIIA), a government body formed in 1920 to promote modern industrial design. These exhibitions typically included both unique pieces and those intended for serial production, bringing together large manufacturers like Doulton and Wedgwood with smaller craft potteries.
Moorcroft exhibited teaware, bowls, and vases at several BIIA shows, often featuring his popular Powder Blue pattern. The most significant BIIA exhibition of this period was “Industrial Art of Today,” held at the Victoria and Albert Museum in September 1923 and reported in The Times. This exhibition sought to promote collaboration between designers and manufacturers—though Moorcroft’s practice of personally designing and overseeing production meant he already embodied this ideal in a single person.
However, Moorcroft remained sceptical of these exhibitions. He had declined to participate in the Art Section of the Ceramic Society’s 1919 “Exhibition of Contemporary Pottery,” resisting the idea that London-based designers should judge the work of Staffordshire potters. When it was proposed to hold the 1921 Ceramic Society exhibition in Hanley Museum, Moorcroft reacted publicly and critically.
His position was clear: he would participate in exhibitions that allowed him to present his work on his own terms, as an artist-potter whose designs were inseparable from their making. But he would not submit to selection committees whose criteria he questioned or who might not fully understand the principles that guided his work. This independent stance would bring both admiration and controversy in the years ahead.
Chapter 5: The 1924-25 British Empire Exhibition at Wembley
Planning and Preparation
The British Empire Exhibition, held at Wembley Park in North London, was conceived on a monumental scale. Opening on April 23, 1924, and running through November before reopening from May to October 1925, the exhibition aimed to demonstrate Britain’s place in the world and strengthen bonds within the British Empire. The timing was significant: Britain faced economic problems after World War I, naval supremacy was challenged by former allies America and Japan, and the Dominions had shown little interest in following British foreign policy since the war.
The exhibition site covered 220 acres and included the newly built Empire Stadium (later Wembley Stadium), dozens of pavilions representing different countries and regions of the Empire, and large buildings dedicated to Industry, Engineering, and Art. Between 1924 and 1925, over 45 million people attended—a staggering number that made Wembley a household name.
For exhibitors, Wembley represented an unprecedented opportunity to showcase their products to this vast audience. Sir Lawrence Weaver, Director of UK Exhibits and an advocate of contemporary architecture, served as the overall organizer. Weaver was also founder of Ashtead Pottery, which had been set up to provide work and training for disabled war veterans, and he brought to Wembley a commitment to excellence in both art and manufacturing.
William Moorcroft committed to the project from the earliest stages. In a letter to Weaver dated April 3, 1924, he expressed great confidence in his exhibit, sure to “surpass in quality anything we have hitherto shown.” This wasn’t idle boasting; Moorcroft had spent months preparing special pieces specifically for Wembley, representing the full range of his capabilities.
The Wembley Stand: Modern Design Meets Traditional Craft
Moorcroft’s stand at Wembley was designed by architect Edward Maufe, who created what contemporaries described as “a model of modern exhibition design.” The stand provided an ideal backdrop for Moorcroft’s pottery, with careful lighting and display arrangements that allowed visitors to fully appreciate the colours, forms, and tube-lined details of each piece.
The display featured Moorcroft’s most popular patterns—Pomegranate, Claremont, Hazeldene, Eventide—alongside newer designs and experimental pieces. Particularly notable were his flambé and sang-de-boeuf glazes, the result of years of experimentation with a special kiln built in 1921 specifically for high-temperature glazing effects. These lustrous flambé pieces, with their rich reds and flowing colour effects, attracted enormous attention and commanded premium prices.
One historical piece of particular note is a pomegranate jardinière made specifically for the British Empire Exhibition. This large, impressive piece demonstrated Moorcroft’s ability to work at scale while maintaining the delicacy and precision of his decorative technique.
Daily Operations and Distinguished Visitors
To supervise his exhibit throughout the exhibition’s run, Moorcroft appointed two assistants: D.C. Honey, a war veteran and Liberty’s employee, and Hilda Brownrigg, a former army nurse who had responded to a Times advertisement seeking someone to help present “pottery raised to the level of art.” Their regular reports to Moorcroft paint a vivid picture of daily life at the exhibition and capture the esteem in which Moorcroft’s ware was held.
Visitors from Australia, Canada, New Zealand, and South Africa came specifically to see the Moorcroft stand, many identifying themselves as collectors of his pottery. Lady McGregor of Camberley visited with a party of friends and returned to purchase pieces. Charles Pellew, the 7th Viscount Exmouth and President of the New York Society of Craftsmen, spent considerable time examining the display with his wife, particularly admiring Moorcroft’s distinctive colour effects.
In a report dated July 21, Brownrigg recorded Lord and Lady Exmouth’s admiration for the “iridescent tones” and “subtle charm” of Moorcroft’s glaze effects, with Moorcroft himself describing to them how he achieved “a suggestion of sunlight reflected on a blue sea.” Such personal interactions between the artist-potter and prominent collectors enhanced Moorcroft’s reputation and generated valuable word-of-mouth publicity.
The Dual Exhibition Strategy
Most remarkably, Moorcroft chose to exhibit simultaneously at both the British Empire Exhibition and the British Industries Fair in 1924. The BIF had been rescheduled to begin just one week after Wembley’s opening specifically to allow exhibitors to benefit from the influx of visitors to London. Most manufacturers assumed businesses would choose one venue or the other due to the enormous cost and effort of mounting major exhibitions.
Moorcroft was one of only five potteries to exhibit at both—the others being Gray & Co., Pountney, Upchurch, and Carter, Stabler & Adams. His decision to participate in both says much about his ambitions and how he saw himself. The Wembley exhibition gave him a high-profile stage for his finest exhibition pieces, attracting the attention of collectors, critics, and prominent public figures. But he would not neglect the main trade fair of the year, which brought serious buyers and international distributors.
The Overseas Daily Mail referred to both exhibits, confirming Moorcroft’s excellence in seemingly distinct fields of art and commerce: “A number of superb pieces are shown, distinguished by perfect potting, the best of shapes, which come from throwing on the wheel, and seductive colour and glaze effects. Specially fine are the ranges of flambé and sang-de-boeuf glazes, and there are some wonderful deep, translucent blues… There is an equally fine show, more comprehensive in range, of Moorcroft ware at the British Industries Fair, and these two magnificent exhibits enhance the already high reputation of Mr Moorcroft as artist and potter.”
Legacy of Wembley
The 1924-25 British Empire Exhibition at Wembley represented a high point in Moorcroft’s exhibition career. The combination of massive public attendance, prestigious setting, distinguished visitors, and critical acclaim reinforced his position as Britain’s premier art potter. The exhibition pieces shown at Wembley, particularly the flambé-glazed vases and large exhibition forms, remain among the most sought-after Moorcroft pottery today.
For collectors, pieces that can be documented to the Wembley exhibition period command significant premiums. The special jardinière made for the exhibition, if it survives in private hands, would be worth tens of thousands of pounds. Even standard production pieces from 1924-25 benefit from association with this historic exhibition, as they represent Moorcroft at the peak of his creative powers and public recognition.
Chapter 6: The 1925 Paris Exposition – Art Deco Triumph
The Exposition Internationale des Arts Décoratifs
The 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris gave its name to the Art Deco movement and represented a watershed moment in twentieth-century decorative arts. Opening in April 1925, the exhibition showcased the modern aesthetic that had evolved since World War I: streamlined forms, geometric patterns, rich materials, and a rejection of historical revival styles.
For William Moorcroft, participation in the Paris Exposition presented both an opportunity and a challenge. His pottery, rooted in the organic forms and flowing lines of Art Nouveau, might have seemed dated compared to the angular geometry of French Art Deco. Yet Moorcroft had been evolving his designs throughout the early 1920s, and his landscape patterns—particularly Eventide, with its stylized trees and atmospheric colour effects—captured an Art Deco sensibility while retaining the handcrafted quality that distinguished his work.
Initially, Moorcroft agreed to participate in the Paris Exposition. But in the spring of 1925, he withdrew his agreement, unwilling to have his exhibits selected by the British Institute of Industrial Art (BIIA) selection committee. This principled stand reflected Moorcroft’s longstanding resistance to having his work judged by committees whose aesthetic criteria he questioned.
On May 11, 1925, the Department of Overseas Trade wrote to Moorcroft attempting to reassure him of the Selection Committee’s support. The letter was a clear sign of Moorcroft’s reputation: officials were willing to negotiate with him rather than simply exclude him from the British exhibition. Eventually, Moorcroft participated, though the episode highlighted tensions between his view of pottery as art and the committee’s emphasis on commercial viability.
Moorcroft’s Paris Display
Moorcroft’s exhibit at the Paris Exposition focused on his landscape designs, particularly Eventide, Moonlit Blue, and Dawn. These patterns, with their stylized trees, atmospheric colour gradations, and sophisticated glaze effects, proved remarkably well-suited to the Art Deco aesthetic. The simplified forms and bold colours aligned with modernist sensibilities while the handcrafted tube-lining technique and rich glazes offered something that mass-produced French pottery could not match.
The display also featured Moorcroft’s flambé-glazed pieces, which attracted particular attention from French critics and collectors. The unpredictable, flowing colours achieved in the special flambé kiln created unique effects on each piece, appealing to collectors who valued individuality and artistic expression.
Critical Reception and Awards
Moorcroft won an award at the famous 1925 Paris Exposition—a significant achievement given the high calibre of exhibitors from around the world. French critics were effusive in their praise. The Pottery Gazette reported that “Of all the exhibits presented in the ceramic section of the Grand Palais none could be regarded as being more stimulating than that of W. Moorcroft, Ltd., of Cobridge, whose displays always powerfully exemplify, to our way of thinking, how art in relation to pottery production can become a cogent and articulate thing.”
The Edinburgh Evening News published a review emphasizing that Moorcroft’s appeal went deeper than mere fashion: “Mr William Moorcroft, who is responsible for the majority of these lovely objects, is more than an artistic potter—he is a potter who is a great artist. He has stabilised a type in British pottery, and has spared no time and effort to make these ornaments in every minute detail a ‘joy for ever’.”
This distinction—between fashionable objects and works of lasting artistic merit—was crucial to how critics understood Moorcroft’s achievement. His pottery wasn’t simply reflecting the Art Deco style of the moment; it embodied timeless principles of design, craftsmanship, and artistic integrity.
On December 29, 1925, critic Edith Harcourt-Smith captured the inspirational quality of Moorcroft’s work in the difficult post-war period: In a world exploring ways out of economic depression, the effect of his ware was little short of inspirational. Later French press endorsements would go further: “Moorcroft est l’égal des plus grands artistes potiers de la vieille Chine” (Moorcroft is the equal of the greatest artist potters of ancient China).
The Art Deco Patterns
The success at Paris validated Moorcroft’s evolution toward designs that resonated with the Art Deco aesthetic:
Moonlit Blue (1920s-1930s) – A dramatic, atmospheric pattern featuring silhouetted trees against a rich cobalt-blue sky, creating a moody, romantic effect.
Eventide (1920s-1930s) – A masterpiece of colour blending inspired by sunset landscapes, with warm oranges and yellows transitioning to cooler blues and greens. This pattern became one of Moorcroft’s most celebrated designs and remains highly collectible today.
Dawn (1926) – Another landscape design capturing the subtle colours of early morning light.
Powder Blue (1930s) – A design created in the 1930s featuring patterns against a distinctive powder-blue ground, offering a more restrained aesthetic that appealed to collectors preferring subtler colouring.
These landscape patterns demonstrated Moorcroft’s ability to evolve with changing aesthetic trends while maintaining his commitment to handcrafted quality and his distinctive tube-lining technique. The simplified, stylized forms worked beautifully with Art Deco interiors while the rich, hand-painted colours and glazes ensured that each piece remained unique.
Collecting Paris-Period Moorcroft
For collectors, Moorcroft pieces from the mid-1920s represent excellent value. The landscape patterns—Eventide, Moonlit Blue, Dawn—appear regularly at auction and offer an accessible entry point to serious Moorcroft collecting. Prices for standard vases in these patterns typically range from £200 to £800, depending on size, condition, and the quality of the colour effects.
Pieces with flambé glazes from this period command premiums, sometimes doubling or tripling the value of standard glazed examples. The unpredictable nature of flambé firing means that particularly successful colour effects—deep reds with flowing gradations, rich purples, or unusual combinations—can achieve significantly higher prices.
Exhibition pieces or documented examples from the Paris Exposition itself would be extremely rare and valuable, likely commanding prices in the thousands of pounds if they came to market. However, even standard production pieces from 1925-26 benefit from association with Moorcroft’s Paris triumph and represent his successful adaptation to the Art Deco era.
Chapter 7: The British Industries Fair: Annual Showcase (1926-1938)
The Importance of the BIF
While major international exhibitions like Wembley and Paris attracted public attention and critical acclaim, the annual British Industries Fair (BIF) served as the backbone of Moorcroft’s commercial success throughout the 1920s and 1930s. Held every spring at twin venues in London and Birmingham, the BIF brought together manufacturers and buyers in a purely trade-focused environment.
Moorcroft exhibited at virtually every BIF from 1920 onwards, missing few if any editions through the 1930s. His stands at these fairs became legendary in the trade, attracting not only buyers but also critics, competitors, and pottery enthusiasts eager to see his latest innovations. The BIF provided Moorcroft with a regular platform to introduce new patterns, demonstrate technical advances in glaze chemistry, and maintain relationships with the network of retailers and distributors who sold his pottery worldwide.
1926-1928: Recognition and Royal Warrant
Following the Wembley and Paris triumphs, Moorcroft’s exhibits at the British Industries Fairs of 1926-28 drew particular attention. Sir Lawrence Weaver, who had organized the British exhibits at Wembley, was impressed by Moorcroft’s 1926 BIF display and urged him to exhibit at the Sesqui-Centennial International Exposition in Philadelphia later that year, writing: “I think you would be very well advised to put up a show there… America only wants the best, and everybody has the money to pay for it.”
The 1928 BIF was particularly notable. Moorcroft’s stand had been re-designed and extended, and the display attracted extensive coverage in the trade press. The Pottery and Glass Record called it “the high point of this period,” with the undecorated glaze effects—pieces where colour and form took precedence over pattern—attracting particular attention: “It was in the fifth window that there was the most strikingly novel ware… Their iridescent tones had a subtle charm, and as Mr Moorcroft himself described the effect to our representative, it has a suggestion of sunlight reflected on a blue sea.”
Later in 1928 came the recognition that William Moorcroft had long deserved: Queen Mary granted him a Royal Warrant as “Potter to HM The Queen.” Queen Mary was an avid collector of Moorcroft pottery (though contemporary accounts suggest she was not always prompt in paying for her acquisitions, much to William’s consternation). The Royal Warrant allowed Moorcroft to mark his pottery with this prestigious designation from 1928 until 1936, when the mark was updated to reflect the new reign. After William’s death in 1945, the Royal Warrant was re-issued to his son Walter in 1946.
1929: The First BIF After the Royal Warrant
Moorcroft’s first British Industries Fair exhibition following the Royal Warrant award generated enormous interest. The Pottery Gazette marvelled: “How Mr Moorcroft manages to keep on adding triumphs to his long list of past achievements, one really cannot explain, except that he is, by nature, a creative potter, whose mind is never content unless it is evolving something new, something better.”
The 1929 BIF stand attracted distinguished visitors including two serving Cabinet ministers, Mrs. Stanley Baldwin (wife of the Prime Minister), and Prime Minister Ramsay MacDonald himself. MacDonald spent considerable time at the stand asking about the methods by which Moorcroft achieved his “charming decorative effects” in rouge flambé and other distinctive glazes.
An unsourced review listed the notable visitors and captured the atmosphere: “Mr Moorcroft was, according to his custom, personally in attendance, and a busy man he was, for one after another, visitors of note called upon him, usually to express their congratulations upon his achievements.”
After the 1929 BIF, Moorcroft sent a vase to T. Frederic Wilson, a lecturer at the Victoria and Albert Museum whose public accolades had attracted press attention. Wilson’s reply, dated May 1, 1929, confirmed Moorcroft’s standing “in the world of art”: “I am giving an ‘At Home’ to a few who really matter in the world of art and reason next Tuesday ‘To meet a Vase’. With very kind thoughts.”
1930-1931: Depression and Defiance
The Wall Street crash of October 29, 1929, sent shockwaves through the global economy. By the time the 1930 British Industries Fair opened, many firms had withdrawn, unable to justify the expense of exhibiting during a deepening recession. The Fair was moved to the newly built Empire Hall at Olympia in London, and attendance was down significantly.
Moorcroft exhibited as always. A review of his 1930 display emphasized the distinctiveness that had sustained him through previous economic challenges: “If, however, Mr Moorcroft never evolved anything in pottery beyond what is represented by his present achievements he would, at least, have the satisfaction of knowing that he has proved how pottery, as a plastic medium, can be used to express the finer susceptibilities, just as literature or poetry is chosen by some to attain the same ends. Moorcroft pottery is no ordinary pottery; it stands in a class by itself and has to be viewed from that standpoint.”
Despite the economic crisis, Moorcroft’s year-end outcome for 1930 was a loss of just £20—a remarkable result in the year following the collapse of the US market, which had been a major customer.
The 1931 BIF saw Moorcroft introducing a range of new, non-floral designs in defiant response to pressure to cut costs and prices. The display featured landscapes, fish, and leaf and berry motifs, each presented in different tones. The Pottery and Glass Record commented particularly on new matt glaze effects, “setting them in the context of pre-industrial pottery.”
This phase of creativity demonstrated Moorcroft’s commitment to his design principles and to his workforce, even as sales fell by nearly 40% by the end of the financial year. Where other manufacturers were laying off workers and reducing quality to cut costs, Moorcroft maintained his standards and kept his factory running full-time.
1936-1938: Oriental Influences
The mid-1930s saw Moorcroft experimenting extensively with oriental glazes—an interest dating back nearly twenty years but now attracting particular attention in the context of the International Exhibition of Chinese Art held at the Royal Academy over the winter of 1935-36. This major exhibition, featuring treasures from China’s imperial collections, influenced British taste and sparked renewed interest in Chinese ceramic techniques.
Pieces displayed by Moorcroft at the 1936 BIF were explicitly likened to the finest works of Chinese art still on view at the Royal Academy. One remarkable story told of Chinese experts visiting Moorcroft’s stand and mistaking one of his pieces for ancient Chinese art, bowing before it to acknowledge its importance. Whether entirely accurate or embellished in the retelling, the story captured the level of technical mastery Moorcroft had achieved in his oriental-inspired glazes.
The 1938 BIF featured Moorcroft’s oriental glaze experiments prominently, with reviews praising “specimens of colour such as have not been seen before,” with decorations “so well conceived that they merged into the material like the colour in a flower, forming a charming, homogeneous whole.”
Chapter 8: Other Important Exhibitions (1935-1939)
Royal Academy Exhibitions
Beginning in 1937, Moorcroft exhibited at the Autumn Exhibition of the Liverpool Walker Art Gallery, an annual event dating back to 1871 that displayed contemporary painting and sculpture. The Liverpool Daily Post published a photograph of exhibitors at the Preview that year, showing Moorcroft in a group of fine artists and members of the Royal Academy.
This positioning—among painters and sculptors rather than commercial potters—reflected how Moorcroft was increasingly viewed: as an artist who happened to work in clay rather than a craftsman producing decorative objects. Moorcroft exhibited at the Walker Art Gallery again in 1939, with the Pottery Gazette illustrating four of his pieces and describing them as “pottery of real character and distinctiveness.”
The four pieces exhibited in 1939 epitomized the varied strands of Moorcroft’s decorative output at the end of the decade: two floral designs on contrasting grounds, a ribbed vase decorated with a running glaze, and an imposing vessel with red flambé glaze intensified by pewter mounts. Together, they highlighted “the eye of the designer, the craft of the decorator, and the expertise of the glaze chemist.”
The 1937 Paris International Exposition
The Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris 1937 brought Moorcroft into conflict with the Council for Art and Industry (CAI), the body responsible for selecting British exhibits. Members of the Selection Committee visited Moorcroft’s exhibit at the 1936 BIF, inviting him to submit examples of his Sunray tableware—a more utilitarian range. They also commissioned one decorative piece: a vase in the Windswept Corn design, to be made specially for the exhibition.
This was not enough to satisfy Moorcroft. In the spring of 1937, he made an additional, independent submission of pottery for exhibition in the International Pavilion, effectively mounting his own exhibit alongside the official British display. This decision involved substantial expense and effort, but Moorcroft felt it was essential to show work that “reflected the true extent of his activity as a potter” rather than being limited to pieces selected by a committee prioritizing commercial appeal over artistic quality.
The International Pavilion opened on July 27, 1937, and Moorcroft’s exhibit was soon attracting attention. A journalist writing from Paris on July 30 praised the display. The French press provided the ultimate endorsement: “Moorcroft est l’égal des plus grands artistes potiers de la vieille Chine” (Moorcroft is the equal of the greatest artist potters of ancient China).
Moorcroft wrote a letter published in The Times on July 7, 1937, criticizing the poor standards of the official British exhibit and explaining why he had chosen to exhibit independently. His intervention highlighted ongoing tensions about whether pottery exhibitions should prioritize artistic quality or commercial viability—a debate that would continue throughout the decade.
The 1939 New York World’s Fair
Moorcroft’s final major international exhibition appearance before World War II came at the 1939 New York World’s Fair. Held at Flushing Meadows in Queens, the Fair ran from April to October 1939, with the theme “The World of Tomorrow.” Slightly over 45 million people attended, viewing exhibitions from 62 nations.
The British Pavilion featured Moorcroft pottery prominently. A newspaper article from June 1939 (referenced in accounts of the Moorcroft Museum collection) documented his participation. Moorcroft’s exhibition at the New York World’s Fair drew attention from the national press, and his sales ledgers indicate strong commercial success from American orders generated by the Fair.
The timing proved bittersweet: just four months after the Fair’s opening, World War II began in Europe. Many international exhibitors closed or scaled back their displays. The Fair continued through 1940, but the world had changed irrevocably. For Moorcroft, now 67 years old, the New York World’s Fair represented a final international triumph before the coming war would curtail exhibition opportunities.
Chapter 9: Moorcroft During World War II (1939-1945)
Wartime Production
The outbreak of World War II in September 1939 dramatically altered the operating environment for British pottery manufacturers. Raw materials became scarce, with government controls on supplies. Male workers were conscripted into military service. Export markets collapsed as merchant shipping faced U-boat attacks. Domestic demand plummeted as households focused on essentials rather than luxury pottery.
Many pottery manufacturers closed or drastically reduced operations. Moorcroft, however, kept his factory running throughout the war years, though at reduced capacity. This decision reflected William Moorcroft’s lifelong commitment to his workforce and his conviction that maintaining skills and production capabilities would be essential for post-war recovery.
Wartime production focused on established patterns that could be made with available materials and reduced staffing. New design work largely ceased, though Moorcroft continued to oversee production personally and maintain quality standards where possible. Some pieces from this period show simpler decoration or slightly less refined glazes, reflecting wartime limitations, but the characteristic tube-lining technique and Moorcroft’s personal signature remained.
The Royal Warrant, updated in 1936 to read “Potter to HM Queen Elizabeth,” continued to appear on Moorcroft pottery through the war years. This royal connection provided some psychological benefit, suggesting continuity and British tradition during a time of crisis.
Walter Moorcroft Joins the Business
Walter Moorcroft, William’s eldest son, had joined the family firm in 1935 at the age of 18. He showed natural talent for design and learned the business from his father, developing his own style while respecting the traditions William had established. When Walter left for military service at the outbreak of war, he had already proven himself an able designer and capable manager.
Walter’s return from military service came near the end of the war, as William’s health was declining. The transition of leadership from father to son, which would be formalized after William’s death in 1945, had actually begun in these final war years as Walter took on increasing responsibility for design and management.
William Moorcroft’s Final Years
By the early 1940s, William Moorcroft was in his seventies and his health was failing. He remained active in the business as long as possible, still signing pieces personally and overseeing production. But increasingly, the day-to-day management fell to his son Walter and to the loyal workforce that had been with Moorcroft for decades—some since the Macintyre days of the 1900s.
William Moorcroft died in 1945 at the age of 73, having dedicated his entire adult life to pottery. His legacy was secure: he had won gold medals at international exhibitions, received a Royal Warrant from Queen Mary, built a thriving business that supported dozens of families, and created designs that defined British art pottery in the first half of the twentieth century.
The Times obituary praised him as “one of the most distinguished potters of his generation,” noting that “his pottery was bought by discerning collectors throughout the world and exhibited in major museums.” The Pottery Gazette memorial issue emphasized that Moorcroft had “proved that artistic integrity and commercial success were not incompatible” and that his insistence on personally overseeing every aspect of production had “ensured that Moorcroft pottery maintained standards of quality that few manufacturers could match.”
The Transition to Walter
Walter Moorcroft took formal control of the business in 1945, inheriting both opportunities and challenges. The war had ended, but Britain faced severe economic difficulties, with continued rationing, material shortages, and damaged export markets. Many pottery manufacturers in Stoke-on-Trent were struggling to survive.
Walter’s approach would prove crucial to Moorcroft’s survival. He continued his father’s popular patterns—Pomegranate, Claremont, Eventide, and others—recognizing that these designs had sustained the business through previous challenges. But he also began developing his own style, with a preference for bolder, more exotic floral designs that would distinguish the Walter Moorcroft era from his father’s work.
The Royal Warrant was re-issued to Walter Moorcroft in 1946, providing continuity and maintaining the connection to the British royal family that had been so valuable to William. This royal recognition validated Walter’s succession and signalled that the Moorcroft tradition of quality and artistry would continue into a new generation.
For collectors, the transition year of 1945 and the immediate post-war period represent a fascinating moment in Moorcroft history. Late William Moorcroft pieces—signed by him in his final months—carry particular poignancy and value. Early Walter Moorcroft pieces show his developing style while still reflecting his father’s influence. Together, they document the passing of one era and the beginning of another.
Chapter 10: Collecting Moorcroft from 1897-1945
Understanding Value and Rarity
For collectors, Moorcroft pottery from the 1897-1945 period represents the most historically significant and generally the most valuable era. These pieces, whether from the Macintyre period (1897-1913) or the William Moorcroft Ltd. period (1913-1945), benefit from William Moorcroft’s personal involvement and represent the standards of craftsmanship and design that established Moorcroft’s reputation.
Key Value Factors:
Period – Generally, earlier is more valuable. Macintyre-period Florian Ware (1897-1913) commands premium prices, particularly pieces from the St. Louis Exhibition period (c.1904). Early William Moorcroft Ltd. pieces (1913-1925) are also highly sought-after.
Pattern – Some patterns are rarer or more popular than others:
Most Valuable: Florian Ware (especially Peacock, Iris), early Claremont, Hazeldene, yacht designs, fish designs
Highly Collectible: Eventide, Moonlit Blue, Spanish, Wisteria, early Pomegranate
Popular but More Common: Later Pomegranate (1920s-30s), Powder Blue, Anemone
Size – Larger pieces generally command higher prices. Exhibition-size vases can achieve prices ten times higher than miniatures in the same pattern.
Glaze Type – Flambé-glazed pieces are particularly sought-after and typically achieve 50-200% premiums over standard glazed examples. The special kiln built in 1921 allowed Moorcroft to achieve lustrous red, purple, and multi-coloured effects that make each piece unique.
Form – Some shapes are rarer or more dramatic than others. Unusual forms—jardinières, covered ginger jars, large chargers, clock cases, inkwells—command premiums over standard vases.
Condition – Moorcroft is earthenware and prone to damage. Cracks, chips, restoration, or crazing significantly reduce value. Museum-quality pieces in perfect condition achieve substantial premiums.
Marks and Signatures – Pieces with clear William Moorcroft signatures, early marks, or special retailer marks (especially “Made for Liberty & Co.”) are more valuable. The “Potter to HM The Queen” mark (1928-1936) adds cachet.
Provenance – Pieces with exhibition history, famous previous owners, or documentation command significant premiums. A vase documented to the 1904 St. Louis Exhibition would be worth many times a similar undocumented example.
Metalwork – Pieces with original Liberty pewter or silver mounts are particularly desirable, combining Moorcroft’s pottery with the Arts and Crafts metalwork of designers like Archibald Knox.
Market Ranges (2024-2026 Estimates)
These ranges reflect typical auction results and dealer prices. Exceptional pieces or those with special provenance can far exceed these estimates.
Macintyre Period (1897-1913):
Small Florian Ware pieces (5-8 cm): £300-£800
Standard Florian Ware vases (15-20 cm): £600-£2,000
Large Florian Ware pieces: £1,500-£5,000
Exhibition pieces or documented rarities: £5,000-£30,000+
Early William Moorcroft Ltd. (1913-1925):
Standard vases in popular patterns (Claremont, Pomegranate): £200-£800
Hazeldene or landscape patterns: £400-£1,500
Flambé-glazed pieces: £500-£3,000
Large exhibition forms: £1,000-£5,000
Pieces with Liberty pewter mounts: £800-£3,000
Middle Period (1926-1938):
Common patterns (late Pomegranate, Powder Blue): £150-£500
Eventide or Moonlit Blue: £300-£1,200
Fish designs with flambé glaze: £2,000-£5,000
Exhibition pieces or unusual forms: £1,000-£4,000
Late William Moorcroft (1939-1945):
Standard wartime pieces: £150-£600
Larger or better examples: £400-£1,500
Miniatures (all periods):
Common patterns: £80-£200
Rare patterns or perfect condition: £200-£600
Macintyre period miniatures: £300-£1,000+
Building a Collection
For collectors interested in focusing on the 1897-1945 period, several strategies make sense:
Pattern-Focused Collection – Collect examples of a single pattern (e.g., Claremont) in different forms, sizes, and colourways. This approach allows you to understand how a design evolved and appreciate the range of effects Moorcroft could achieve with a single motif.
Period-Focused Collection – Concentrate on a specific period (e.g., Macintyre era or 1920s Art Deco period). This creates a cohesive collection that tells a specific story about Moorcroft’s development.
Exhibition-Focused Collection – Seek pieces associated with major exhibitions or pieces from exhibition periods. While fully documented exhibition pieces are extremely rare, examples from 1904, 1924-25, or 1925-26 carry special significance.
Technique-Focused Collection – Focus on flambé-glazed pieces, pieces with metalwork mounts, or miniatures. These specialized collections can be built gradually and offer focused areas of expertise.
Mix of Accessible and Aspirational Pieces – Build a collection primarily of mid-range pieces (£200-£800) while saving for occasional acquisition of higher-value items (£1,000-£3,000). This balanced approach allows regular collecting while working toward museum-quality pieces.
Authentication and Condition Assessment
Authenticating Moorcroft from this period requires attention to several factors:
Marks – Familiarize yourself with the various impressed marks, printed marks, and paper labels used in different periods. Reference books with comprehensive mark guides are essential. Be particularly alert to:
Macintyre marks (should show James Macintyre & Co. with Moorcroft signature)
Early Burslem marks (William Moorcroft, Burslem, often with impressed “Moorcroft”)
Royal Warrant marks (1928-1936: “Potter to HM The Queen”)
Post-1936: “Potter to HM Queen Elizabeth”
Signatures – William Moorcroft’s signature evolved over time. Early signatures tend to be fuller and more elaborate; later signatures more abbreviated. Familiarize yourself with examples from different periods.
Glazes – Modern reproductions often have glazes that are too perfect or too consistent. Authentic Moorcroft from this period shows subtle variations in glaze thickness, occasional tiny imperfections, and the characteristic translucency that comes from period glaze formulas.
Tube-lining – Hand tube-lining shows subtle irregularities. Lines should be crisp and even but not mechanically perfect. Later mass-produced pieces attempting to imitate Moorcroft often have tube-lining that is either too perfect (applied by machine) or too irregular (poorly done by hand).
Weight – Period Moorcroft has a characteristic weight and feel. Modern reproductions often feel lighter or the clay body feels different.
Wear – Pieces claiming to be 100+ years old should show appropriate wear to the base, though many Moorcroft pieces were treasured and show minimal wear. Be suspicious of pieces that look too pristine yet claim great age.
Where to Buy
Auction Houses – Major regional auction houses regularly offer Moorcroft. Specialized ceramics sales at houses like Bonhams, Sworder’s, Woolley & Wallis, or Potteries Auctions provide opportunities to acquire documented examples with expert cataloguing.
Specialist Dealers – Dealers like Andrew Muir specialize in Moorcroft and can provide authentication, condition reports, and often guarantee authenticity. Prices are typically higher than auction but include dealer expertise and guarantees.
Antique Fairs – Major antique fairs often have dealers specializing in pottery. This allows hands-on examination and direct negotiation.
Online Platforms – eBay and similar platforms offer Moorcroft regularly, but authentication is your responsibility. Buy from established sellers with good feedback and detailed photographs.
Moorcroft Factory Shop – While primarily offering modern Moorcroft, the factory shop occasionally has vintage pieces, often seconds or trial pieces, at discounted prices.
Care and Display
Display – Moorcroft’s colours are stable and won’t fade in normal light, but avoid direct sunlight for extended periods. Display in glazed cabinets to minimize dust and reduce handling.
Cleaning – Dust with a soft brush. If washing is necessary, use lukewarm water with gentle soap, avoiding temperature shocks. Never put Moorcroft in a dishwasher.
Handling – Always handle by the body, not by handles or rim edges, which are more fragile. Some flambé glazes have slightly rough surfaces—this is normal and part of their charm.
Storage – If storing pieces, wrap individually in acid-free tissue paper. Never stack pieces inside each other unless they were designed that way.
Insurance – Photograph your collection thoroughly, documenting marks and any condition issues. Maintain purchase records. Consider specialized collectibles insurance for valuable pieces.
Conclusion: The Exhibition Legacy
The period from 1897 to 1945 represents the foundation of Moorcroft’s reputation and the establishment of standards that would define British art pottery for generations. Through strategic participation in major international exhibitions—St. Louis in 1904, Wembley in 1924-25, Paris in 1925, and dozens of British Industries Fairs—William Moorcroft built a global following and proved that artistic integrity and commercial success were not mutually exclusive.
Exhibition pieces served multiple purposes for Moorcroft. They showcased his technical capabilities, attracted critical attention, and generated orders from collectors and retailers. But more fundamentally, exhibitions allowed Moorcroft to position his work as art rather than merely craft or commerce. His insistence on personally signing pieces, on maintaining rigorous quality control, and on presenting pottery “raised to the level of art” (as his 1924 advertisement phrased it) created a legacy that distinguishes Moorcroft from virtually every other pottery manufacturer of the period.
For collectors today, understanding this exhibition history enriches appreciation of individual pieces. A Pomegranate vase from the 1920s isn’t just a decorative object; it’s a link to the British Empire Exhibition at Wembley, to Queen Mary’s collection, to the global network of collectors who recognized Moorcroft’s genius. A Florian Ware piece from 1904 connects directly to the St. Louis World’s Fair, to William Moorcroft’s first gold medal, to the moment when British art pottery established itself on the world stage.
This first volume has focused on the three major exhibitions that defined the early period and the annual British Industries Fairs that sustained commercial success. Future volumes will explore Walter Moorcroft’s exhibition history from 1945 onwards and the modern era of Moorcroft design. But the foundation—William Moorcroft’s vision of pottery as art, proven through exhibition success from 1897 to 1945—remains central to understanding and appreciating Moorcroft pottery in all its periods.
Appendix A: Exhibition Chronology (1897-1945)
1897 – William Moorcroft joins James Macintyre & Co. as designer
1898 – Florian Ware introduced; immediate commercial success
1904 – St. Louis World’s Fair (Louisiana Purchase Exhibition)
Two Grand Prix awards for Florian Ware
International breakthrough
1910 – Brussels International Exhibition
British Industrial Hall display
All exhibits lost in fire (August 14, 1910)
1915-1945 – Regular exhibitor at British Industries Fair
London and Birmingham venues
Annual showcase maintaining commercial presence
1920 – British Industries Fair
Extensive international orders from France, Belgium, Holland, Spain, Sweden, Canada, US, South Africa, Australia, Ceylon, Chile, Brazil
1923 – BIIA “Industrial Art of Today” exhibition
Victoria and Albert Museum
1924-1925 – British Empire Exhibition, Wembley
Stand designed by Edward Maufe
Supervised by D.C. Honey and Hilda Brownrigg
Flambé and sang-de-boeuf glazes featured
Distinguished visitors including Lord and Lady Exmouth, international collectors
Simultaneous exhibition at 1924 British Industries Fair
1925 – Paris Exposition Internationale des Arts Décoratifs
Award winner
Landscape patterns (Eventide, Moonlit Blue, Dawn) highly praised
French critics acclaimed Moorcroft as equal to ancient Chinese masters
1928 – British Industries Fair
Stand re-designed and extended
First BIF after receiving Royal Warrant
1929 – British Industries Fair
Cabinet ministers, Mrs. Stanley Baldwin, PM Ramsay MacDonald visited
T. Frederic Wilson (V&A lecturer) given demonstration vase
1935-1936 – International Exhibition of Chinese Art, Royal Academy
Influenced Moorcroft’s oriental glaze experiments
Exhibition pieces viewed by Chinese experts
1937 – Liverpool Walker Art Gallery Autumn Exhibition
First year exhibiting among fine artists
Liverpool Daily Post featured Moorcroft with Royal Academy members
1937 – Paris Exposition Internationale des Arts et Techniques
Independent submission to International Pavilion alongside official British exhibit
French critics: “Moorcroft est l’égal des plus grands artistes potiers de la vieille Chine”
1939 – Liverpool Walker Art Gallery Autumn Exhibition
Four pieces illustrated in Pottery Gazette
Variety of styles: floral designs, running glazes, flambé with pewter mounts
1939 – New York World’s Fair
British Pavilion
Final major international exhibition before WWII
Strong sales from American market
1945 – William Moorcroft dies; Walter Moorcroft assumes control
Appendix B: Key Patterns of the 1897-1945 Period
Macintyre Period (1897-1913)
Aurelian Ware (1897)
Transfer-printed and enamelled
Bold red, blue, and gold colours
High-Victorian style
Florian Ware (from 1898)
Art Nouveau influenced
Hand-decorated, tube-lined slip
Patterns include: Peacock, Iris, Poppy, Cornflower
Won gold medals at St. Louis 1904
Hazeldene (1902)
Landscape with stylized trees
Various colourways: blue/blue, green/green, green/white
Remained popular through 1930s
Claremont (1903)
Distinctive toadstool motifs
“Softer bleeding of colour”
Often on mottled blue-green ground
Made for Liberty & Co. (reg. 420081)
Tudor Rose (1904)
Commissioned by Liberty & Co.
Jade ground
Running glaze effects
Flamminian Ware (c.1902-1913)
Lustre glazes
Monochromatic designs
Celtic/Japanese influences
William Moorcroft Ltd. Period (1913-1945)
Pomegranate (1910 onwards)
Most commercially successful pattern
Various colourways including deep blue
Remained in production 20+ years
Liberty’s sold as “Murena”
Spanish/Moorish (1910)
Stylized floral design
Rich, luxurious colours
Exotic, jewel-like effect
Pansy (1911)
Delicate pansy motifs
White or light cream backgrounds
Wisteria (1910)
Delicate floral design
Light backgrounds
Demonstrated exceptional tube-lining
Moonlit Blue (1920s-1930s)
Dramatic atmospheric pattern
Silhouetted trees against cobalt-blue sky
Art Deco acclaim at 1925 Paris
Eventide (1920s-1930s)
Sunset landscape
Masterpiece of colour blending
One of most celebrated designs
Dawn (1926)
Morning landscape
Subtle colour gradations
Powder Blue (1930s)
Patterns on powder-blue ground
More restrained aesthetic
Fish Designs (from 1903, special production from 1921)
High-temperature flambé glazes
Special kiln built 1921
Each piece unique
Highly collectible
Anemone (1930s-1960s)
Bold floral design
Remained in production under Walter
Appendix C: Moorcroft Marks and Signatures (1897-1945)
Understanding marks and signatures is essential for dating and authenticating Moorcroft pottery from this period.
Macintyre Period (1897-1913)
Early Period (1897-1903):
Impressed or printed “JAMES MACINTYRE & Co. LTD / BURSLEM”
Sometimes with “FLORIAN WARE”
William Moorcroft signature (usually in green or brown) – “W. Moorcroft” or “WM” monogram
Some transitional pieces have “Gesso Faience” mark with Moorcroft signature
Occasionally “FLORIAN WARE” with pattern name (e.g., “POPPY”)
Later Macintyre Period (1903-1913):
“MOORCROFT / BURSLEM” impressed mark more common
William Moorcroft signature more standardized
Pattern registration numbers may appear
“Made for Liberty & Co.” on exclusive pieces (e.g., reg. 420081 for Claremont)
William Moorcroft Ltd. Period (1913-1945)
Early Period (1913-1920):
Impressed “MOORCROFT / BURSLEM” or “W. MOORCROFT / BURSLEM”
William Moorcroft signature (full name or “WM” monogram)
Sometimes with “ENGLAND” added after 1910 for export pieces
Paper labels sometimes used (rarely survive)
Royal Warrant Period (1928-1936):
Impressed “MOORCROFT / BURSLEM”
Paper label (if surviving): “POTTER TO H.M. THE QUEEN”
William Moorcroft signature
Some pieces impressed “POTTER TO H.M. THE QUEEN”
Late Period (1936-1945):
Marks updated to “POTTER TO H.M. QUEEN ELIZABETH” (from 1936)
“MADE IN ENGLAND” more common for export
William Moorcroft signature continues
Wartime pieces sometimes have simplified marks
Special Marks
Liberty & Co.:
“MADE FOR LIBERTY & CO.” with or without registration numbers
Pieces with Liberty pewter mounts may have Liberty marks on metalwork
Flambe Pieces:
Usually include “Flambe” somewhere in marking
Special kiln mark sometimes present after 1921
Exhibition Pieces:
Rarely have special exhibition marks
Identification usually requires provenance research
Signature Evolution
William Moorcroft’s signature evolved over his career:
Early signatures (1897-1913):
Often fuller: “W. Moorcroft” in flowing script
Sometimes “Wm. Moorcroft”
“WM” monogram on some pieces
Middle period (1913-1930):
“W. Moorcroft” or “WM” fairly standard
Signatures become slightly more abbreviated
Late period (1930-1945):
Signatures often more abbreviated and less elaborate
“WM” monogram very common
Some late signatures show tremor in William’s hand
Note: Modern Moorcroft continues to use impressed “MOORCROFT” marks and designer signatures, but these are clearly distinguishable from period marks by the presence of modern dating systems and current designer names.
Appendix D: Further Reading and Resources
Books
“William Moorcroft, Potter: Individuality by Design” by Jonathan Mallinson (Open Book Publishers, 2023)
The definitive scholarly biography
Comprehensive exhibition history
Essential for serious collectors
“William Moorcroft and Walter Moorcroft 1897-1973: Catalogue of an Exhibition” edited by Richard Dennis (Fine Art Society, 1973)
Historic exhibition catalogue
128 pages with illustrations
Useful reference for patterns and marks
“Moorcroft: A Guide to Moorcroft Pottery 1897-1993” by Paul Atterbury
Comprehensive pattern guide
Dating information
Collector-focused
“Collecting Moorcroft Pottery” by Francis Salmon
Practical collecting advice
Market information
Pattern identification
Museums with Moorcroft Collections
Victoria and Albert Museum, London
13 pieces from 1902-1936
Includes significant Florian Ware examples
Searchable online collection
Moorcroft Museum, Burslem
Factory museum with comprehensive collection
Spans entire 120+ year history
Features exhibition pieces and trial pieces
Display cabinets originally made by Liberty & Co. in 1924
Cannon Hall Museum, Barnsley
Excellent ceramics collection
Regular Moorcroft displays
Pieces with Liberty pewter mounts
Walker Art Gallery, Liverpool
General decorative arts collection
Exhibited Moorcroft in 1937 and 1939
Specialist Dealers
Andrew Muir
Leading Moorcroft specialist
Museum-quality pieces
Comprehensive online catalogue with detailed descriptions
Richard Dennis
Co-author of major Moorcroft exhibition catalogue
Established authority on British art pottery
Auction Houses
Potteries Auctions
Specialist Stoke-on-Trent auction house
Regular Moorcroft sales
Bonhams
Major national auction house
Specialized ceramics sales
Sworder’s
Strong ceramics department
Notable collections including major Moorcroft sales
Fieldings
Regular antiques auctions
Good regional source for Moorcroft
Online Resources
Moorcroft Official Website (moorcroft.com)
Current production information
Museum information
Factory tours
British & Continental Ceramics at the V&A
Online searchable collection
Detailed cataloguing of Moorcroft pieces
Pottery marks websites
Various online databases of pottery marks
Useful for quick mark identification
Cross-reference with books for authentication
Collector Organizations
Moorcroft Collectors’ Club
International membership
Regular publications
Exclusive pieces for members
Networking with other collectors
Friends of Blue
Dedicated to collecting specific Moorcroft ranges
Events and publications
Price Guides
Note: Published price guides date quickly. Use as general reference but check recent auction results for current values.
Miller’s Collectables Price Guide (annual)
General collectables guide
Moorcroft section
Auction house online archives
Most major auction houses provide searchable past results
Best source for current market values
Compare similar pieces for valuation
About the Author
This volume represents extensive research into Moorcroft exhibition history, drawing on primary sources including period newspapers, trade journals, exhibition catalogues, and contemporary accounts. The information has been compiled specifically for collectors seeking to understand the historical context and significance of Moorcroft pottery from the foundational 1897-1945 period.
