02/08/2025 General News
The announcement earlier this year that the famous Moorcroft ceramics factory was to close after 112 years sent shockwaves through the collecting world, writes David Broom.
Whilst Moorcroft might not have been one of the top-end European names (such as Meissen, Sevres or Royal Worcester), it was nevertheless extremely popular in the saleroom – indicative of the continuing popularity of mid-century ceramics.
The post-war period was a real golden age for European ceramics, and one which saw the old traditions of those ‘big names’ collide with the bold experimentation in modern art and design which characterised the age.
Europe had been devastated by six years of war, not just physically, but culturally as well. People were desperate to look forward to a brighter age of peace and prosperity, and to leave the past behind. This was an environment in which new ideas for design would flourish.
In particular, the two decades following the war saw a democratisation of society, and with it a renewed appreciation for handcrafted goods and domestic objects that combined modernist beauty with functionality. In ceramics, this meant a shift from the ornate styles of the past towards cleaner, more organic forms influenced by modernist principles.
In Britain, potteries such as Poole, Fulham, Midwinter and Hornsea Potteries created durable, minimalist stoneware that blurred the line between craft and industrial design.
The Poole studio, under the creative direction of artists such as Robert Jefferson and Carol Cutler, produced striking, abstract works that mirrored the emerging energy which would explode during the Swinging Sixties.
Hornsea’s geometric patterns and warm tones became staples of modern British homes, while leading designers like Jasper Conran were coming up with modern, graphic designs for Midwinter Pottery.
Much as with furniture, Scandinavian design became very influential in ceramics. Stig Lindberg and Lisa Larson of Sweden’s Gustavsberg produced playful, experimental forms combining modern art with functional design, whilst over the border in Denmark, Nils Thorsson at Royal Copenhagen was specialising in complex glazes and stylised motifs.
The immediate post-war period in West Germany was one of social and industrial rebuilding, but by the 1960s, the so-called ‘fat lava’ style was emerging. With thick, volcanic glazes and dramatic textures, these pieces are no longer seen as kitsch and are now very collectable.
At the same time, German ceramicists such as Margete Heymann – along with the younger generation of Bauhaus-influenced designers, pursued more minimalist and functional approaches.
The 20 years or so following the Second World War was a golden era for ceramic design, with prosperity and a forward-looking mentality encouraging bold experimentation and a cultural transformation. Many were mass-produced, making them accessible, and yet the quality of their design and material often rivalled high-end studio pottery.
It is striking that many pieces from that era still look modern today. For collectors, they offer not just a decorative appeal, but a tangible link to a pivotal era in European design history.
Keys next Modern Art and Design Sale, which includes a mid-century ceramics section, takes place in October. If you have a piece you would like appraised, contact david.broom@keysauctions.co.uk.