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It was the process of making stained glass which triggered De Morgan's move into tile-making, as he was struck by the iridescent beauty of the silver paint used to outline his designs, and wanted to achieve this lustrous effect on tiles.
Setting out on his design journey: Stained Glass and Lustre. Probably at William Morris’s suggestion, in the 1860s William began designing stained glass and furniture. He used his classical training to create beautiful scenes from the Bible and from mythology, in harmony with floral patterns.
A lifelong friend of William Morris, he designed tiles, stained glass and furniture for Morris & Co. from 1863 to 1872. His tiles often recall medieval or Islamic design patterns. He applied innovative glazes and firing techniques. Galleons and fish were common motifs, as were "fantastical" birds and animals.
Nov 16, 1839 - Jan 15, 1917. William Frend De Morgan was an English potter, tile designer and novelist. A lifelong friend of William Morris, he designed tiles, stained glass and...
De Morgan's focus at 'The Firm' was primarily on stained glass before making his way to ceramics. This was not wasted time at all. It was his early experiences with stained glass that inspired him to develop the red lustre tiles characteristic of his Chelsea period and finally the irridescent tiles during his Fulham period.
Soon De Morgan began experimenting with stained glass, ventured into pottery in 1863, and by 1872 had shifted his interest wholly to ceramics. In 1872 De Morgan set up a pottery works in Chelsea where he stayed through 1881 -- his most fruitful decade as an art potter.
5 de nov. de 2022 · In 1872, William De Morgan made his commitment to becoming a ceramic designer. He gave up his successful and lucrative career as a designer of stained glass to establish what was arguably the most exclusive art pottery of the late-Victorian era. V&A, E.412-1917 © Victoria and Albert Museum.
