By the middle of the nineteenth century, the British Empire and its colonies were a significant force in the world of trade. Goods from Greece, China, India, Japan and Persia provided new models for the ceramic industry. Influences from all of these countries can be found in Dresser's designs but that of Japan is certainly the strongest.
Dresser first learned about Japanese ceramics when he was a student, and when a large collection was displayed at the International Exhibition in London in 1862 he made sketches of many of the items. Elements of these were featured in designs he created for Minton and Co in 1871 and for Linthorpe Art Pottery in 1880. The production techniques employed at Linthorpe were innovative with the use of spray colour producers and gas ovens which, combined with experimental glazes, resulted in unique effects.
Dresser's insistence on the complementary nature of design and material extended to the functional aspects of the object as well. The placing of handles and spouts so that they were in balance with the centre of gravity was an essential feature of his designs for jugs and teapots.
One of the firms for which Dresser designed was Linthorpe Art Pottery which was in production from 1879 to 1889. The factory not only provided work in an area of high unemployment, its output under Dresser's leadership fulfilled his aims of making beautiful objects which were financially accessible to large numbers of people.
Dresser was the leading advocate of the value of Japanese ceramics for British designers and had his own collection. Where he went further than his contemporaries was in his use of butterflies, frogs, beetles and birds as motifs.
In 1890, after Linthorpe Art Pottery had ceased trading, most of its moulds were acquired by the Ault pottery for which Dresser designed in 1894. Its products, despite being awarded medals at international competitions, were never as highly regarded as those of Linthorpe.
