-
Federation University Art Collection
Ceramic, Platter by Peter Corser, 1989
ringsjan feder memorial ceramics collection, peter corser -
Flagstaff Hill Maritime Museum and Village
Ceramic - Gravy Boat & Plate, Burleigh Pottery, 1930
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 -
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with glazed white finish -
City of Kingston
Ceramic - Moorabbin Arts Centre butter ramekin, Royal Porcelain Kingdom of Thailand, c. 1990
Butter ramekin belonging to a set produced for use at the Moorabbin Arts Centre (now Kingston Arts).White ceramic butter ramekin and Moorabbin Arts Centre logo on front.Marked on base: Royal Porcelain / Kingdom of Thailand / Oven to Table / Dishwasher - safe / Microwave - safeephemera, crockery, tableware, moorabbin arts centre -
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with brown gloss finish. pottery, ceramic, archaeology -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Bruce Stewart, Set of Five Salt-glazed Pots, by Bruce Stewart, 1979
Bruce STEWART A Diploma Student in Ceramics at the Gippsland Institute of Advanced Education from 1977 to 1979. Jan Feder is an alumna of Federation University having studied ceramics at the Gippsland Institute of Advanced Education (now Federation University Gippsland campus). Jan Feder was respected by all students for her diligence and technical ability. Her tragic death in 1981 evoked an immediate response from her peers for a memorial. Students discussed a number of memorial options, such as funds for equipment, scholarships and awards. The decision to commence a collection was made based on the idea that all future students could benefit from the availability of a collection, whereas only a very few individuals could benefit from a scholarship. Students immediately set about raising money by selling 'seconds' called 'Junque Sales'. A total of $760.00 was raised and the first two works purchased were by Victor Greenaway and Victoria Howlett. Ceramic works were purchased from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Gippsland Campus. The Artist in Residence Program assisted the collection, with many resident artists contributing to the Collection (ie Robin Welch, Anna Zamorska, Sandy Brown), as well as international guests. Ceramic events such as 'Strzelecki Spotkanie 1984' and 'Woodfire 86' also resulted on major contributions to the collection. Salt-glazed pots. Presented to the Jan Feder Memorial Ceramic Collection by Bruce Stewart jan feder memorial collection, jan feder, ceramics, gippsland campus, artwork, artist, bruce stewart, alumni -
Federation University Art Collection
Ceramic - Artwork - Ceramic, Christine Perks, 'Sheltering From Winter Skies' by Christine Perks, 1992, c1993
Christine PERKSTwo handbuilt majolica cats with on-glaze painted and woodfired earthernware.christine perks, majolica, ceramics, jan feder memorial ceramics collection, gippsland campus, cats -
Federation University Art Collection
Ceramic - Artwork - Ceramics, [Vessels]
artwork, artist, ceramics, gippsland campus, gippsland campus art collection -
Ballarat Heritage Services
Ceramic, Springmount Pottery, Lidded Bowl by Springmount Pottery
Lidded pot by Springmount Potteryceramics, springmount pottery, tina banitska -
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with grey gloss finishdecorative line pottery, ceramic, archaeology -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Woodfired Stoneware Platter by Tim Holmes, c1983
Tim HOLMES Born Wales Tim Holmes first became interested in pottery on a visit to New Zealand in 1969. After returning home he studied at the local art school, then enrolled at the Harrow School of Art in 1973. While there, he was introduced to Gwyn Hanssen Pigott's work, and returned to Australia to help her set up a pottery in Tasmania. He established his own Garden Island Creek Pottery in 1977, and started making wood-fired pottery, digging and milling his own clay. He used a two- chambered kiln, firing raw- glazed domestic stoneware in the first chamber and earthenware garden pots in the second. In 1988, he moved his pottery to the Potter's Croft at Dunalley on the east coast of Tasmania. He and his wife Tammy now run the Potter's Croft as a bed and breakfast with a craft gallery, and he is still making pottery using a wood-fired kiln. Garden Island Creek Pottery had its own impressed stamp, and work may also be impressed 'TH' or incised 'T. Holmes'. Tim Holmes was a visiting visitor to Gippsland Institute of Advanced Education (later Federation University) in 1983. He was a lecturer at 'Woodfire 86'.Woodfired Stoneware Platter tim holmes, ceramics, artwork, jan feder memorial ceramics collection, gippsland campus, artists, woodfire 86, garden island creek pottery -
Kew Historical Society Inc
Ceramic - Vase, Viola Ayling
Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade, narrow-necked ceramic vase, with a pink glaze overlaid with painted and dripped cream and green glazes within the ridges.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola ayling -
Whitehorse Historical Society Inc.
Ceramic - Brick -Ventilation
Brick was made for ventilation of buildings by the Builder's Trading and Roofing Co (Formerly the Monarch Brick & Tile Co). Rooks Road, Mitcham.Dark glazed and fired terracotta ventilation brick with 15 holes moulded in the centre.ceramics, terracotta -
Whitehorse Historical Society Inc.
Ceramic - Border Tile
See 359Brown glazed border tile with rolled and decorated edge'1502'ceramics, earthenware -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Ceramic - stoneware, Gerry Wedd, Wayne Lynch pot, 2015
hand-built, slip decorated and glazed, mid-fired stonewarestoneware, ceramic, surf, wayne lynch, gerry wedd, flowers, waves, beach, urn, vase -
Federation University Art Collection
Ceramic - Stoneware, [Group of Vessels] by Jan Feder, 1980
Jan FEDER Born Barmera, South Australia Jan Feder was a student at the Gippsland Centre of Art and Design in the 1980s. She had started studying ceramics in Adelaide, deciding to continue here study at Churchill under Hedley Potts' tutelage after moving to Strezlecki. In her final year Jan was an on-campus weekday resident to save on the travel time. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. A group of ceramic vessels by Jan Feder, an alumna of the Gippsland Centre for Art and Design (GCAD). After her death in the mid 1980s her student peers amassed funds to create a memorial collection. jan feder, jan feder memorial ceramics collection, gippsland campus, alumni, ceramics -
Federation University Art Collection
Ceramic, Serving Dish with Handles by Christopher Headley, c1985
Wheelthrown hand decorated stoneware platter with Shino glaze.christopher headley, ceramics, jan feder memorial ceramics collection, gippsland campus -
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with a cream gloss glaze finish and a pictorial design painted in bluePictorial design painted in bluepottery, ceramic, archaeology -
Hymettus Cottage & Garden
Ceramic - Rice Plate
A William de Morgan rice plate from the Sands End pottery 1893. An associate of William Morris, De Morgan produced a range of pottery including tiles and tile murals and works also for Morris.Arts and Craftswilliam morris, arts and crafts, british pottery, pottery, lustreware, -
Gippsland Art Gallery
Ceramic, Swen, Hiroe, Untitled, c.1975
Donated from the estate of Patricia Marie White, 2013gippsland, artwork, permanent collection -
Kew Historical Society Inc
Ceramic - Madonna and Child, Viola Ayling
Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade, abstract figurative sculpture, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade ceramic sculpture of an abstracted Madonna and Child. The figures are fully covered in an olive green glaze.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), sculptures, abstract art, viola ayling -
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with white glazed finish with a decorative floral design in black.Floral designpottery, ceramic, archaeology -
Working Heritage Crown Land Collection
Ceramic - Ceramic shard, Mint ceramic shard
Ceramic shard with blue and white design with a glazed finish -
National Vietnam Veterans Museum (NVVM)
Ceramic - Ceramic bowl
Small ceramic bowl on perspex stand contains soil from the site of the Battle of Long Tansoil, battlefield, long tan -
Federation University Art Collection
Ceramic, Satay Sticks
Possible made by Dedang?Three ceramic satay sticks. If you are able to assist with information on this artist or artwork please use the email link below. jan feder memorial ceramics collection, dedang -
Federation University Art Collection
Ceramic, [Vessel] by Ino Kiyoshi, c1982
Ino KIYOSHI (1 (1946-28/09/2008) ) Born Kyoto, Japan Kiyoshi Ino was born into a family that has been involved in the production of pottery for some 160 years. He working towards a Diploma of Ceramic Arta at the Kyoto School of Arts and Crafts, which he completed in 1969. He then attended the Kyoto Technical School for a post-graduate course in glazing, and was laer appointed lecturer in Ceramics at the Kyoto Technical School. After completing a study tour of China and Taiwan, Ino was one of a group of Japanese potters that travelled to Australia from the 1970s onwards following in the footsteps of the famous Japanese potter, Shoji Hamada who Kyoshi visited in 1965. Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga. Between 1974 and 1976 Kyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, returning there as Assistant to the Senior Lecturer in Ceramics in 1979. He left Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established.Glazed vesseljan feder memorial ceramics collection, staffmember, ceramics, yinnar art resource collective, ino kiyoshi -
Gippsland Art Gallery
Ceramic, Potts, Hedley, I Have a Dream for the Dreamtime, 1988
Purchased, 1989gippsland, artwork, permanent collection -
Whitehorse Historical Society Inc.
Ceramic - Border Tile
See 359Blue glazed border tile with darker blue edgingceramics, earthenware -
Ballarat Heritage Services
Ceramic - Domestic Ware, Lidded vessel by Wirilda, c1995
Gembrook Pottery was based in Gembrook in the Dandenong Ranges of Victoria. The pottery, run by Ian and Robyn Burgher, was registered as a business from 1987 to 2007. Marks include Gembrook Pottery (impressed), Gembrook Pottery Wirilda (impressed) and Wirilda (painted). Lidded bowl with incised carving.ceramics, australian studio pottery, warilda, gembrook pottery -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Container, 1900 to 1940
Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature. A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s. Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Stoneware circular container with wide opening, brown top and off white base glazed finish Marked "1" on brown glazed rimflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, container, stoneware container, kitchen storage, kitchen ware