Burleigh Pottery (also known as Burgess & Leigh) is the name of a pottery manufacturer in Middleport, Stoke-on-Trent. The business specialises in traditionally shaped and patterned domestic earthenware of high quality. The business was established in 1851 at the Central Pottery in Burslem as Hulme and Booth. The pottery was taken over in 1862 by William Leigh and Frederick Rathbone Burgess, and traded from that date as Burgess & Leigh. The trademark "Burleigh", used from the 1930s, is a combination of the two names. Burgess and Leigh moved to different works, first in 1868 to the Hill Pottery in Burslem and then in 1889 to the present factory at Middleport, that at the time was regarded as a model pottery. Its scale and linear organisation was in contrast to other potteries constricted sites and haphazard layout of their working spaces. In 1887 Davenport Pottery was acquired by Burleigh primarily for its moulds. These historic moulds are still used today in the production of Burleigh ware. Leigh and Burgess died in 1889 and 1895 respectively, and were succeeded by their sons, Edmund Leigh and Richard Burgess. On Richard's death in 1912, the business passed entirely into the ownership of the Leigh family. In 1919 it became a private limited company, Burgess & Leigh Ltd. The years between the wars are often regarded as the company's "golden age", with a number of extremely talented designers and artists such as Harold Bennett, Charles Wilkes and Ernest Bailey. Perhaps the best known was Charlotte Rhead, who worked between 1926 and 1931, noted particularly for her work in tubelining. By 1939, the factory was employing over 500 people. The business took great pains, from as early as 1897, to build up a thriving export network, concentrating primarily on the Empire later becoming the Commonwealth and American markets, focusing later on Europe. After a run of financial difficulty, the company was sold in 1999 to the Dorling family, Rosemary and William Dorling, and traded as Burgess Dorling & Leigh. In 2010 it was acquired by Denby Holdings Ltd, the parent company of the Denby Pottery. A significant company producing pottery over many generations and exporting their products all over the world. Its designs are still in use today demonstrating the longevity and significance of the Burleigh Ware trade mark.Gravy Boat & plate-willow pattern Burleigh Ware "WILLOW" within a floral decoration & Made in England flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, willow pattern

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. We are currently looking for information on the artist who created this work. If you are able to assist please leave details in the comments link below.art, artwork, jill, ceramics

Established: Derby, Derbyshire, England in 1750 by Andrew PlancheVictorianLedger Bequest, 1993Urns in traditional Royal Crown Derby pattern of blues, flowers and gilded decoration.Verso: A: "ROYAL CROWN DERBY" above ROYAL CROWN DERBY maker's mark right of hole in centre; "ENGLAND" vertical to right of maker's mark in red underglaze; "1134/2553" in orange underglaze above maker's mark. B: "ROYAL CROWN DERBY" above ROYAL CROWN DERBY maker's mark right of hole in centre; "ENGLAND" vertical to right ofmaker's mark in red underglaze; "1134/2553" in orange underglaze above maker's mark. "B" in orange underglaze to the far left of makers mark.ceramic, urns, decorated, gilded, floral, royal crown derby

Graham WOOD Wartook Pottery was set up in the early 70s by Graham Wood, and was sucessful for nearly 25 years. It then moved to Halls Gap (The Grampians, Victoria), and the name was changed to Jimmy's Creek Pottery in 1998. The pottery conitnued under that name until 2003. when cheap imports hurt the business. Hand thrown ceramic bowl with 'Gum Leaf' design and the word 'sugar'. According to decorator Wendy McGuiness all decoration was made and applied by hand - an extremely time consuming activity. Texture to the body of each piece was created by using a piece of coral. Tenmoku glaze was applied to the top of the pieces, with iron oxide to the main body. This was the first of the Wartook range that sold commercially from around 1987 all over Australia. At the height of production Wartook Pottery had 5 employees, including a new wheel potter (who was adept at creating the pieces as Graham had done before). Additional ranges were still hand thrown, but with a floral wreath (slip cast) applied to the top of each pot, as well as a range that used decals for decoration. australian landscape pottery, les macleman, ceramics, landscape, graham wood

Stephen CUTHILL Stephen Cuthill was a diploma graduate from the Gippsland Centre of Art and Design (GCAD), and was later a tutor. He exhibited works at the Churchill Switchback Gallery iduring the 1980s. His mark is an impressed 'Cuthill' or an impressed stamp 'Stephen Cuthill"A salt glazed bottle with titanium slip glaze.jan feder memorial ceramics collection, salt glaze, alumni, stephen cuthill

See 359 Possibly matched with 363Glazed part of a border tile - black background with green spots Joined with NA363 to be one tile.ceramics, earthenware

See NA359Green glazed border tile with border pattern.364 (on back)ceramics, earthenware

Potter Kevin Crick was based in or around Moruya on the south coast of NSW in the late 1980s and 1990s. He exhibited at the Granite Grove Art Gallery in Moruya in 1987 according to an article in the Canberra Times. He made well-thrown and glazed functional ware with an impressed mark consisting of three horizontal lines in a square, with a raised circle bisecting the top line. Photograph of a hand thrown and decorated ceramic vase by Kevin Crick with impressed studio mark on the base. ceramics, pottery, kevin crick, studio pottery

The Asiatic Pheasant pattern on the plate is a transfer design and was the most popular design of the 18th & 19th centuries and is still being produced today. The design was produced as high-quality, decorative dinnerware by the potters in the Staffordshire area of England, from the late 1830s, but no one is sure exactly of the original designer's name. History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch that lies to the west of Aberfoyle, and to the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as recovered from the wreck of the Loch ArdGorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the recovery from the wreck of the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of the Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up and recovered from the Loch ArdGorge wreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we are able to interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Serving dish or meat dish; oval with scalloped edges. White Chine plate with a blue flora transfer design called "Asiatic Pheasant". Recovered from the wreck of the Loch Ard. Printed "W & S" (pattern is) "Asiatic Pheasants"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, serving dish, asiatic pheasant, meat dish, meat plate, serving plate, crockery, domestic item, dining

Ceramic shard with cream gloss finish. pottery, ceramic, archaeology

Five test slabs with colour inlays bisque fired. coloured clay, test tile, ceramics

Reg PRESTON (1917-2000) Born Bellevue Hill, Sydney, New South Wales Reg Preston studied sculpture at Westminster School of Art, London but was a self-taught ceramicist. His first solo exhibition was in Melbourne in 1958. He founded the Potters' Cottage, Warrandyte, Victoria in 1958, where he has taught part-time. During the 1960s Preston and his wife produced a line of pottery under the name “Ceres". He switched to stoneware in the mid 1960s and continued working well into the 1980s. Multiple glazed stoneware over tenmoku glaze. Maker's stamp covered by glaze. Preston painted in glaze.ceramics, reg preston, jan feder memorial ceramics collection, gippsland campus, functional ware

The Italian barque Antares was an iron three-masted sailing clipper built in 1888 by Russell & Co of Port Glasgow originally named the “Sutlej” and renamed in 1907 the “Antares” when sold to the Semider Bros of Genoa Italy. The vessel left Marseilles on the 18th of December 1913 with its master captain Gazedo destined for Mullaly & Byrne of Melbourne with a cargo of roof tiles but failed to arrive. The wreckage was found near the Bay of Islands twenty-two miles east of Warrnambool after a body had washed ashore. Some of the timbers washed up were charred by fire, and a small boat's stern board with the name "Sutlej" led to the identification of the wreck as Antares which had been reported missing. According to later reports, the Antares wrecking was overshadowed by war news at the time. A young local boy had remarked that the Germans had arrived off the coast as he had seen them firing off shells and rockets, but his story was passed off as a joke. These rockets were most likely the distress signals from the stricken ship. The Italian barque/clipper Antares was sometime later reported as overdue. The wreck of the ship was later found at the base of a cliff at the Bay of Islands near Warrnambool in November 1914, there were no survivors.The Antares is significant as it was a sail trader carrying an international inbound cargo during the early part of the 20th century. It is part of the Great Ocean Road Historic Shipwreck Trail and as such is registered as a protected wreck in the Victorian Heritage Database VHS S34 .Roof tile; clay terracotta roof tile. Inscriptions are impressed into the clay. It was recovered from the wreck of the Antares. ”- E R I E S DE LA MEDITERRANEE” “ … T S – MI-LES BOU- R …..” SYMBOL [Sideways crown or tree (could be TULLERIES DE LA MEDITERRANEE)]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, roofing tile, building materials, antares, peterborough, 1914 shipwreck, sutlej, antares rock., bay of islands, terracotta tile, clipper

Peter CORSER Peter Corser was a Diploma Student at Gippsland Campus.Stoneware bottles, wood fired with glaze from burning plyash.ceramics, gippsland campus, peter corser, jan feder memorial ceramics collection, alumni, woodfire

See NA359Unglazed terracotta border tile with pale dots and bordersceramics, terracotta

Ceramic shard with white glazed finish and a blue geometric design. blue geometric designpottery, ceramic, archaeology

Ceramic shard with black gloss finishpottery, ceramic, archaeology

A mass produced utilitarian item believed to have been made for domestic use in the Stoke-on-Trent area of England, no history or manufacturing provenance currently available makers mark unable to be identified at this time. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps. All this adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.Item at this time cannot be associated with an historical event, person or place, provenance is undetermined, item assessed as a collection asset given it was produced before 1950.Toilet article container base, porcelain with blue decoration on white backgroundRd No 58105 (year 1911) Orchid W.& W. on baseflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, toilet container base, toilet article, grooming article

Ceramic shard with glazed white finish

Ceramic shard with orange matt finish. pottery, ceramic, archaeology

Two lidded pots with blue detail decoration by Springmount Potteryceramics, springmount pottery, tina banitska

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Raku Fired stoneware bowl with White Crackle Glaze by Robin Welch Robin Welch stamped on baserobin welch, ceramics, jan feder memorial ceramics collection, gippsland campus

Arts and CraftsVaseovoid form with slender neck, decorated with ruby lustre stamped 'De Morgan Merton Abbey' in oval stamp.william morris, william de morgan, arts and crafts, pottery, lustreware

ikebana, vase, urn, vessel, tony hutchison

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade ewer, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.A handmade eathernware lidded ewer, the exterior fully covered in an olive green glaze, while the interior is glazed in cream The lower section of the body, the spout and the lid reveal the coil work construction technique used, whereas the upper body is smoothed.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), ewers, pouring vessels, viola annie mcvicars, viola annie ayling

Graham MASTERS, Sweenies Creek Pottery Potter Graham Masters was based at Sweenies Creek outside Bendigo. He specialised in a patented technique of low relief stoneware depicting Australian animals and landscapes. He obtained a Diploma of Art and Design in Ceramics from the Bendigo Institute of Technology in 1973, then operated a pottery for a year in Bendigo before becoming an employee, then a partner at Maldon Pottery with Neville Wilson and Thomas Metcalf. Masters left Maldon to set up his own pottery at Sweenies Creek in 1984. A stoneware plate commemorating the 125th anniversary of the Shire of Strathfieldsaye. It features the Shire Hall and courthouse, with gum trees to the left.graham masters, sweenies creek pottery, shire of strathfieldsaye, strahfieldsaye shire hall, anniversary

Alan WATT (1941- ) Born Melbourne, Victoria Alan Watt studied at RMIT from 1961 to 1965, and he completed a Fellowship Diploma in 1973-4. Alan Watt travelled and studied pottery in Europe and Japan, and lectured in three State a Colleges in Victoria since 1964. in 1984 Alan Watt was a guest lecturer at Spotkanie held at the Gippsland Campus of Advanced Education.Slab built blackfired stoneware. The sculptural form is inspired by the cuts in open cut coal fields. alan watt, ceramics, jan feder memorial ceramics collection, gippsland campus, spotkanie, strezlecki spotkanie

Small dark green mottled glazed tileceramics, earthenware

Tile came from home of Stanley Walker, Benares Street, Mitcham. Stanley was son of E.E.Walker. Prop of Australian Tesselated Tile Co.Terra cotta tile used for garden edge.ceramics, terracotta