The nineteenth century in England was a period of great debate among artists and designers regarding the purpose of art and design and its role within society. In the wake of the Industrial Revolution, mechanised production transformed the way objects and goods were made, demanding new approaches to design that differed from traditional handcrafted production. In 1837, in response to this development, the Government Schools of Design in England were founded to enhance design education and improve the quality of design. This gave rise to the design reform movement, which opposed excessive ornamentation and sought to elevate British taste through progressive design.
A key proponent of this design reform was Christopher Dresser in addition to his art and design studies, he developed a deep interest in botany, publishing three books on the subject and earning a doctorate from Jena University in Germany. His interest in botany profoundly shaped his design practice, as did his interest in Japanese art, ancient cultures and geometry. Together, these diverse influences significantly informed Dresser’s prolific and eclectic design output.
Dresser was particularly interested in working with manufacturers who pursued innovative design approaches. In doing so, he solidified his role as one of the first industrial designers. Designing specifically for the consumer market, he sought to bring art into everyday life by designing objects for a broad market.
‘Dresser designed ceramics for leading English factories, including Minton and Wedgwood, as well as for potteries producing more affordable products that were accessible for the middle classes’
Imogen Mallia-Valjan
Propeller vase c. 1890, generously supported by John and Bridget Patrick, was produced by the Linthorpe Pottery in Middlesbrough. Established in 1879, this regional pottery operated under the artistic direction of Dresser, who served as art superintendent until 1882. Under his guidance, the manufactory became known for its pioneering abstract forms and unusual glazes. Although the process of producing the glazes was well guarded by the manufactory, it is believed they incorporated materials similar to those used in the production of stained glass, creating a semi-translucent effect. Both the innovative approach to glazes and the forms produced by the pottery were heavily inspired by Japanese ceramics, examples of which Dresser collected during his travels to Japan. The Propeller vase is an example of the highly progressive forms being produced by the pottery and reveals the stylistic similarities between Japanese ceramics and Dresser’s design work for Linthorpe.
In keeping with Dresser’s diverse approach to design, the Propeller vase form was also produced in glass by the James Couper & Sons manufactory in Glasgow. An example of this vase from c. 1895 has recently joined the NGV Collection, generously supported by Merv Keehn and Sue Harlow. Dresser began designing glassware later in his career, and between 1888 and 1896 he produced a range of ornamental vases and table glassware known as ‘Clutha’ for James Couper & Sons. The name ‘Clutha’ is thought to derive from the Gaelic name for the river Clyde, which runs through Glasgow. These works included a new version of the Propeller vase and were retailed by the London firm of Liberty & Co. With its same twisting, drapery-like form, the glass Propeller vase is more elongated than its earthenware counterpart. This example was produced in pale green glass and features prominent bubbling, which is intentionally incorporated into the design and manufacturing process. Combining hand-blown and industrial manufacturing techniques, the James Couper & Sons manufactory was the perfect marriage of industry and art to produce Dresser’s designs.
In his glass designs, Dresser drew inspiration from ancient Greek and Roman works as well as the celebrated manufactories of Murano, Venice. This influence is evident in the dual tonality of his works. While the Clutha propeller vase is predominantly pale green, there are notable patterns within this colour formed by blending differing shades of glass. Both Roman and Venetian glass traditions employed effects known as aventurine and murrhine, whereby the glass was permeated with coloured streaks. Dresser adopted this technique in the Clutha productions, producing greater depths of colour. Given this experimental approach to their manufacture, no two pieces of Clutha glass are the same.
Imogen Mallia-Valjan is NGV Assistant Curator, International Decorative Arts and Design.
See the works discussed by Christopher Dresser on display now on Level 2, NGV International, in the 18th- & 19th-Century Decorative Arts & Paintings Gallery.
This essay was first published in NGV Magazine | Issue 56 Jan–Feb 2026.