From 1913 onwards, it is a known historical fact that WIlliam Moorcroft experimented with designs and styles which he had so successfully developed as Manager of the art department within the ceramic giant, James Macintyre and Co. Ltd. which specialised in tableware, industrial porcelain - even door knobs.
Sixteen years later, William had his own factory in Sandbach Road, Burslem. Almost immediately, Florian Carp experienced a brief revival: daffodils, pansies and irises re entered the design portfolio alonf with many other flowers, all drawn in a naturalistic way. I t was the same style which he had developed so painstakingly during the lacintyre years and which had helped WIlliam establist an outstanding reputation in the world of the applied arts. Interestingly, a design actually called New Florian was introduced at this time, but only a few pieces have survived, perhaps because of the First World War or eperhaps because of a contemporary lack of appette for their colour and form. We shall never know. In other words, 1913 was a time of flux. WIlliam was deciding whether to move backwards or take his business forwards.
Designer, Kerry Goodwin, decided that she would bventure back in time to the FLorian era to create her own tribute to the founding father of Moorcroft. Like her illustrious predecessor, she found herself immediately restriained by limitations of the metalis oxide colour pallette available at the turn of the last century. For texture and linework, Kerry took up the Florianware Lilac theme c.1902, while or colour she chose delicious yello, cream, green and lavender purple. Treading a different path doe her design subject matter, Kerry chose the hyacinth - a flower never used bu William Moorcroft at all. Kerry's hyacinth flowers hang like graped from their stem to create a suptuous feath for the eye. Organically, the hyacinths quite literally swim up into the next of the vase as if it have become coral seaweed twisting and glistening in amethyst-purple hues held down against a current of cadmium yellow by her strap-likwe leaves. Make no mistake, Florian Hyacinths is a fine example of Moorcroft art and almost surely would have been a design which William Moorcroft would have lied to sign, on its base, in green as his own.
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