246:. A slight variant of this mark was used on tiles which produced raised lettering. Secondly, there was the impress of the signature of Dresser in his capacity of Art Superintendent, which would seem to identify works that are either designed or were influenced by him, notably no mould to date above the number 1700 bears his signature. Thirdly, in his capacity as pottery manager, Henry Tooth, had his monograph impressed into each piece, this practice is discontinued by his successor when Tooth departs in 1882. Finally, the majority of pieces have the mould number impressed into the base of the work. Another and fourth mark is the artists monogram. There are over 30 marks so far identified for example CP was used for Clara Pringle who specialised in floral decoration,. The artists maks are found on the base of the pottery usually in underglaze black.
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manager from the
William Smith pottery in Stockton. Following this initial success Harrison decided to expand production and Dresser recommended the hiring of Henry Tooth, an artist from Buckinghamshire who was then working on the Isle of Wight as a suitable manager for the pottery. Having no previous ceramic experience he spent some time training at the T G Green Pottery in Derbyshire.
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The pottery ran into difficulties in the late 1880s, due in part to the rising cost of materials and saturation of the market by similar products produced by the Bretby pottery formed by a partnership between potter
William Ault and Henry Tooth, amongst others. In 1889 John Harrison was made bankrupt
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Between 1880 and 1881 Harrison issued a prospectus proposing to establish a
Linthorpe Art Works Company, which would also produce wallpapers, glass and beaten and decorative metals. It was hoped to issue a 1,000 shares at ÂŁ5 per share, raising ÂŁ50,000, however, no public offering was ever made and it
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village. The men are said to have had a prior acquaintance and that
Dresser suggested to him that he might profitably re-purpose his brickworks into the production of ceramics that had not previously been attempted in Europe. It is also claimed that they sought to alleviate some of the conditions of
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Harrison undertook an initial pilot in 1879, which presumably ran alongside the existing brickworks, with
Dresser acting as Art Superintendent, designing the new Linthorpe Ware; a thrower was drafted from the Issac Wilson and Co Pottery in Middlesbrough; the first firing was overseen by the kiln
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by the collapse of the Onward
Building Society and he succumbed to pneumonia shortly thereafter, dying at only 45. His estate allowed the pottery to continue into 1890 as a going concern, however, it was finally closed permanently when the works were sold by public auction on 10 April 1891.
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The pottery was innovative in its use of the local red brick clay, previously used by the brickworks, which was supplemented by white clay imported from
Cornwall by the mid-1880s. It was also the first pottery in the country to use gas-powered kilns to fire the ceramics, which allowed it to
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experiment with running and special effect glazes for which it became well known. This combined with the designs of
Dresser, who designed over a 1,000 individual pieces for the pottery during their collaboration, many of which can now be found in collections as wide-ranging as the
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is after the failure of this proposal that the collaboration with
Dresser, who would have received shares had the venture succeeded, seems to have waned. Henry Tooth, who was named as manager of the proposed works in the prospectus, left in early 1882 to establish the
164:. It aims to develop a wider recognition of the influence of Dresser's work, as well as creating a resource for further scholarship. It was launched on 20 June 2013 with a two-day symposium and a series of events hosted by the university and
242:, of which there are several variations, the earliest of which was the work Linthorpe impressed, this was latterly combined with the shape of mould number one, with this being registered on 14 November 1882 as a
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Linthorpe Art
Pottery achieved national and international recognition starting in 1882 when it was exhibited at the Society of Arts Exhibition of Modern English Pottery; in 1883 it was shown at the
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is said to have purchased a turquoise vase, exciting considerable interest in the pottery by the general public.
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The Linthorpe Art Pottery was a born of a collaboration between the leading Orientalist and designer
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of 1885 in South Kensington, where it received both a Diploma of Merit and a Gold Medal, and where
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and local businessman, John Harrison, who was the proprietor of the Sun Brick Works based in
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The Christopher Dresser Society was established in 2013 following a ÂŁ10,000 bequest made to
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Linthorpe art pottery : made from ordinary clay found at Middlesbrough-on-Tees
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in New Orleans and was awarded a bronze medal; and in 1885 it was shown at the
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Linthorpe Art Pottery can have up to four identifying marks. Firstly, the
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and its dependence on the iron and steel industries for employment.
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unemployment in Middlesbrough, which was a consequence of the
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was a British pottery that operated between 1878 and 1890 in
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and was awarded a bronze medal; in 1884 it was shown at the
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626:"Linthorpe | Peter Wilson Auctioneers & Valuers"
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World's Industrial and Cotton Centennial Exposition
611:Bracegirdle, C. Linthorpe: The Forgotten Pottery,
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397:. Guisborough, Cleveland: Aisling Publications.
129:and was succeeded in his role by Richard Patey.
16:Former ceramic maker in Middlesbrough, England
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576:Campbell, Gordon; Allwood, Rosamond (2014).
533:. Macy, Laura Williams. : Macmillan. 2002.
592:10.1093/gao/9781884446054.article.T2072869
103:Cooper–Hewitt, Smithsonian Design Museum
293:"Linthorpe Art Pottery | Dorman Museum"
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675:Le Vine, Jonathan R. A. January 1970.
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319:"Linthorpe Art Pottery - Graces Guide"
678:Linthorpe Pottery - An Interim Report
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453:"Collection search: You searched for"
166:Middlesbrough Institute of Modern Art
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344:"Isaac Wilson and Co - Graces Guide"
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142:International Inventions Exhibition
652:"Town 'claims' visionary designer"
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258:Marks, with the Dresser signature
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712:Organisations based in Yorkshire
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107:Los Angeles County Museum of Art
650:Lee, Catherine (20 June 2013).
478:"Dresser Exhibition at V&A"
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427:"Linthorpe Pottery (undated)"
482:www.antiquestradegazette.com
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270:Vase, with Tooth signature
99:Metropolitan Museum of Art
95:Victoria and Albert Museum
579:"Linthorpe Art Pottery"
503:"Search the Collection"
393:Hart, Clive W. (1988).
369:"Linthorpe Art Pottery"
561:: CS1 maint: others (
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685:Linthorpe Art Pottery
683:Hart, Clive A. 1988.
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348:www.gracesguide.co.uk
323:www.gracesguide.co.uk
116:Three jugs by Dresser
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717:History of Yorkshire
162:Teesside University
58:Christopher Dresser
46:Christopher Dresser
146:Princess Alexandra
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89:in Linthorpe, the
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25:Wave bowl, c. 1880
531:Oxford art online
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431:My Town My Future
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180:Dresser jug
42:art pottery
701:Categories
692:0951417002
276:References
657:3 January
635:3 January
557:cite book
512:3 January
487:3 January
462:3 January
437:3 January
378:3 January
353:3 January
328:3 January
298:2 January
244:Trademark
62:Linthorpe
34:Linthorpe
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413:19291885
105:and the
597:20 July
52:History
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156:Legacy
93:, the
125:with
688:ISBN
659:2020
637:2020
599:2020
563:link
545:OCLC
535:ISBN
514:2020
489:2020
464:2020
439:2020
409:OCLC
399:ISBN
380:2020
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192:Vase
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
