Bursley 64/13 (Numbered) Designed by Kerry Goodwin of Moorcroft


Bursley 64/13 (Numbered) Designed by Kerry Goodwin of Moorcroft.

‘In front, on a little hill in the vast valley, was spread out the Indian-red architecture of Bursley – tall chimneys and rounded ovens, schools, the new scarlet market, the grey tower of the old church, the high spire of the evangelical church, the low spire of the church of genuflexions, and the crimson chapels, and rows of little red with amber chimney-pots, and the gold angel of the blackened town hall topping the whole. The sedate reddish browns and reds of the composition, all netted in flowing scarves of smoke, harmonised exquisitely with the chill blues of the chequered sky. Beauty was achieved, and none saw it.’

Arnold Bennett | Clayhanger, 1910

The beauty that Bennett saw in Burslem is not the obvious kind. Yet, his observations of movement and colour in the architecture and surroundings of ‘Bursley’ as he called it, conjure a quaint industrial hotchpotch; a hive of activity and creativity, deserving of the title ‘the Mother Town of the Potteries’. This kind of beauty is rarely noticed by onlookers or documented by fine artists, but it has always been appreciated by designers at Moorcroft. Kerry Goodwin brings us Bursley- a Florianesque masterpiece in tribute to the pottery metropolis. Her design is based upon a traditional banded vase, which flares at the base, reminiscent of the first vases used at Moorcroft. Her colour palette showcases a variety of heady hues, applied and blended by expert hands. Moss green melts into sulphuric yellow while those ‘chill blues’ are met with a wonderful smoky burgundy. It captures the essence of a place lost in time- the birth place of William Moorcroft and Josiah Wedgwood; the home of Moorcroft, Royal Doulton, Burleigh, Steelite and many more; a conurbation of dwindling bottle ovens, red brick architecture, applied science and unsurpassed ceramic art.