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From 1888-98 he set up at Sands End, Fulham, in partnership with the architect Halsey Ricardo (1854-1928), continuing from 1898-1907 with his kiln-master Frank Iles and decorators Charles and Fred Passenger as his partners. De Morgan made many, many designs for tiles and tile panels \u2013 some 820 are in the V&A collection. There exists a near-identical, though differently coloured, peacock panel, made at Sands End (see Greenwood). The same fish design and a different peacock scene were used, c.1904-1907, for the winter garden at 8 Addison Road, West London, a house designed by Halsey Ricardo for the retailer Sir Ernest Debenham."},{"value":"William Frend De Morgan (1839-1917), now widely regarded as the most important ceramicist of the Arts & Crafts movement, also worked in stained glass and became a successful novelist. The son of a non-conformist mathematics professor, he became a close friend of William Morris and Edward Burne-Jones and married the Pre-Raphaelite painter Evelyn Pickering (1855-1919), in 1887. As a ceramicist, De Morgan was primarily a designer\/decorator and chemist, working on bought-in blanks or pots thrown to his design. 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A leaping fantasy beast faces right; five feathers or horns rise from its head, like a crown. Above left is a palm-like tree, with other stylised foliage filling spaces across the surface. The whole surface is glazed and most is painted with ruby lustre; but parts of the raised surface have been left unpainted, giving buff highlights to the tree and crown and accentuating the modelling of the beast, and the raised surface has been further decorated with a darker tone of ruby lustre. There are some white glaze drips on the top and left sides, otherwise the sides and reverse are unglazed."}],"identifier":[{"accession_number":"EC.6-1941","primary":true,"type":"accession number","value":"EC.6-1941"},{"priref":"15320","type":"priref","value":"15320"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/15320","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/15320"}],"inscription":[{"description":[{"value":"large, circular rosette mark"}],"location":"on the back","method":"impressed","transcription":[{"value":"SANDS END POTTERY - FULHAM - WM.DE MORGAN & CO."}],"type":"mark"},{"method":"circular paper label inscribed in black ink","transcription":[{"value":"1941 \/ 6"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Mr H C Mossop, 1941"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-166328","uid":"adlib-agent-166328","uuid":"68af14cb-72da-3914-890f-0732c666a00c"},"summary_title":"Mossop, H. 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The son of a non-conformist mathematics professor, he became a close friend of William Morris and Edward Burne-Jones and married the Pre-Raphaelite painter Evelyn Pickering (1855-1919), in 1887. As a ceramicist, De Morgan was primarily a designer\/decorator and chemist, working on bought-in blanks or pots thrown to his design. He experimented widely with techniques and glazes, re-discovering methods for making and applying lustres and the colours of  Iznik and Persian pottery and using them for a range of complex fantasy designs featuring ships, birds, flora and animals. The original design for this tile  is held in the V&A collection (V. & A. E.613-1917, Box C.144); it has no foliage in the background and is inscribed  'Chelsea' on the back, indicating it dates from 1872-81, when De Morgan was based at Cheyne Row, Chelsea. 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The design has been cut down from that used on another tile in the Fitzwilliam collection (EC.9-1941), the original of which held in the V&A collection (V. & A. E.952-1917, Box C.145). According to Jon Catleugh, the design dates from the period when De Morgan was based in Chelsea from 1872 to 1882. However, the mark indicates that this tile was produced later, when De Morgan\u2019s workshop was at Merton Abbey (1882-88).  The tile is unusually small \u2013 De Morgan usually worked on 6x6 inch blanks (or sometimes 4-12 ins. \u2013 see Gaunt), but the Fitzwilliam holds another, similarly coloured, three inch tile where the pattern has been cut down. Possibly these were  test pieces or samples. De Morgan made many, many designs for tiles and tile panels \u2013 some 820 are in the V&A collection."},{"value":"William Frend De Morgan (1839-1917), now widely regarded as the most important ceramicist of the Arts & Crafts movement, also worked in stained glass and became a successful novelist. 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