British ceramics, the potter Hannah Barlow made a number of animal designs, omitting heavy ornamentation/decorative foliage common in Victorian pottery, on clay during her time at Royal Doulton, inspired by Ukiyo-e. Dresser had a successful line with Minton of blue closionne vases. In 1873, George Ashdown Audsley gave a lecture on Japanese Ceramic artworks at Liverpool. Thomas Jeckyll designed a number of his 'mon' fireplaces, used by architects like Dresser and Norman Shaw, becoming extremely popular in 1873. Jeckyll also designed the Philadelphia Centennial Exposition's 1876 Japanese Pavilion in wrought iron, the decorative motif here of the sunflower was heavily employed in the structures ornament, which although used before as a motif by Jeckyll, popularised the association of the sunflower as a floral motif in the Anglo-Japanese style. Other artists such as Walter Crane, particularly his The Frog Prince (1874), began to display signs of Japanese influence in how they employ the bright colours of Japanese woodblock prints he had first used in other children series (between 1869 and 1875) which he had first been introduced to in his time in art school in England. Japan took part in the 1874 International Exhibition. In 1874–1876, Warner & Sons produced a number of successful wallpapers, designed by Edward William Godwin, heavily featuring circular 'mons', and chrysanthemum motifs, the mons being directly taken from Japanese design, found in a book; owned by Godwin's wife; Beatrice Godwin. As well by 1874, Japanese imports had also picked up and Arthur Lasenby Liberty became well known as a Japanese goods importer at his store Liberty's (or for example 'small silver hinged boxes cloisonne-enamelled in an Anglo-Japanese style'), particularly for ladies fan in 1875. In the same year, Thomas Edward Collcutt began designing a number of Japanese inspired ebonized sideboards, cabinets and chairs for Collinson & Lock. Augustus Wollaston Franks set up an exhibition of ceramics, mainly porcelain, at the Bethnal Green Museum in 1876; having collected netsuke and tsuba from Japan. Godwin in the British Architect reported that Liberty's [has] Japanese papers for the walls; curtain stuffs for windows and doors; folding screens, chairs, stools [etc. ... Sometimes] one stumbles across a rug that is irritating in its sheer violence of colour. Such coarseness, however, is rarely or ever to be found even in the modern products of Japan. ... Either the European market is ruining Japanese art, or the Japanese have taken our artistic