2. 1901–04: The End of the Beginning

Moorcroft is seen to be moving in a quite different direction from chemist potters such as Elton, Howson Taylor, Noke (at Doulton) or Burton (at Pilkington), who experimented with largely unornamented glaze effects. As well as developing new colours, he was exploring the design potential of different decorative motifs, not least trees and toadstools; diary entries suggest an increasingly close collaboration with Liberty’s, who actively promoted his most innovative work. Articles in The Studio and the Art Journal increased his reputation in the UK, and in the US he was the subject of an important article in Keramic Studio. He was attracting attention not just as a chemist potter, but as a designer, and as an individual, his work increasingly referred to by his name, not that of Macintyre’s. This artistic creativity was complemented by extensive marketing and continued commercial success. His diaries record frequent sales trips, and growing US interest from stores such as Spaulding & Co (Chicago), Marshall Field & Co. (Chicago), Wanamaker’s (New York). The culmination of this collaboration was Macintyre’s participation at the 1904 Louisiana Purchase Exhibition in St Louis, where Moorcroft won a Gold Medal, the highest award for an individual exhibitor.