Mary-Lou began exhibiting in the mid 1980s and over the years has been known for producing unique pieces of domestic ware influenced by food and traditional ceramic ware of the past.Food and tradition have always played a big part in Mary Lou’s ceramic work. 'Serving Platter' is rich in colour. The decorative designs are inspired by her surroundings in a style reminiscent of the past. Mary-Lou and husband Chris have a studio and gallery attached to their residential property in Eltham North which is open to the public. They also participate in the Nillumbik Artists Open Studios program. Oval platter with bold, stylised flowers glazed in reds, blues and yellows.mary-lou pittard, eltham, nillumbik, ceramic

Modern communications technology arrived on Gabo Island with the construction of the telegraph line from Eden to Gabo Island in 1870. This type of insulator was usually used with radio antennae wires, telegraph and radio antennae equipment. The items of telegraphic equipment comprise a number of ceramic and glass insulators of varying age and type. Five, knuckle-shaped white glazed ceramic examples are associated with radio antennae wires. In addition to insulators, there is a telephone insulator bracket made of metal with wooden pins. It was once attached to the top of a steel pole and some of these remain in situ along the former telegraph line. Telegraphic communication commenced at the Gabo Lightstation in 1870, just eight years after the lightstation opened. The line from Sydney reached Eden, NSW by 1868 and was then extended to Gabo with the costs shared equally by NSW and Victoria. It was initially carried on posts across the sea to the island but was changed to a line along the seabed after the posts were washed away. The first telegraph office was a timber building on east side of the assistants’ quarters. In 1887 a new concrete telegraph office was built which included quarters for the operator, with Victoria and NSW sharing the construction costs. The 1992 CMP identified remnants of the line from its various phases of operation, and these can still be seen in 2016. Other ceramic insulators in the collection are associated with lines supported on utility poles for the transmission of high voltage electricity. .The various insulators have second level significance for their historic value and provenanceFive white glazed ceramic insulators. Knuckle bone sized, oval shaped with one opening at either end. All five are the same.

This Japanese ceramic vase was recovered from the wreck of the S.S. Casino (1882 – 1932) between the late 1960s to early 1970s. It is one of the shipwreck artefacts in the John Chance Collection. The design is an example of vintage basket weave pottery. The base of the vase is stamped ‘MADE IN JAPAN’ , which dates its probable manufacture to circa 1921-1932. The vase has side seams indicating that it was made by joining two moulded sides of the vase together, then adding the round base. The coastal trader SS Casino (1882–1932) had a run of almost 50 years along the coast of Western Victoria. She traded goods and food as well as carrying passengers from port to port on her many voyages. This vase may have been included in her cargo or could have been amongst the personal luggage of the people on board. The ceramic vase is an example of ceramic pottery in Victoria the 1930s. The vase is also significant as it was recovered by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The vase is also significant as it is associated with the S.S. Casino, which played an historical role in Western Victoria, providing transport, communication and trade along the coast between Melbourne and Portland in the late 19th and the early 20th century, visiting the ports at Apollo Bay, Warrnambool and Belfast (Port Fairy). The S.S. Casino was the only regular trader with normal passenger accommodation along the West Coast and the only Western District steamship that was in service between 1854 and 1939, and to be represented in the Victorian Heritage Shipwreck register, and to have been wrecked in the Western District, and to have the wreck located, and to be accessible to divers. The wreck of the S.S. Casino, and its associated relics, is considered an important part of Victorian and Australian cultural heritage and is now protected as a Historic Shipwreck under State and Commonwealth Law in the Commonwealth Historic Shipwrecks Act (1976). Vase, round, cream coloured, unglazed ceramic, basket weave design. Wide mouth, short neck that tapers out to wide shoulders and straight down to round base. Seams on each side, mouth to base. Small handle on each side of vase between mouth and shoulder. Front and back of vase have a plain oval space bordered by a floral design. Inscription stamped onto base. Made in Japan. Stamped onto base in black ink "MADE IN / JAPAN"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vase, japanese vase, s.s. casino, john chance, vintage pottery, newcastle and hunter river steam navigation company, belfast and koroit steam navigation company, west coast trader, apollo bay, captain middleton, basket weave, ceramic

Professor Vernon PATRICK Professor Vernon Patrick was a visiting artist to the Gippsland Campus. In 2018 he was listed as an Emeritus Professor of the California State University.Tall glazed ceramic vesselvernon patrick, gippsland campus, churchill, jan feder memorial ceramics collection, stoneware

Glazed ceramic platter with crazing.jan feder memorial ceramics collection, peter corser, ceramics

Bulbous shaped ceramic vesselgrant finke, jan feder memorial ceramics collection, australian studio pottery

The manufacture of firebricks is believed to have begun in Bacchus Marsh in the 1880s when William Thomas Wittick in partnership with a Mr Ackers, and later a Mr Telford, quarried a rich deposit of fire clay at Darley. In 1902 financial assistance was provided by David Mitchell a significant businessman and contractor from Melbourne and the business then expanded and became a major supplier of refractories for gas works in Melbourne, with side lines in moulded fire bricks for foundries and smelting furnaces and complete kiln lines for potteries. The business traded under the name Darley Firebrick Company and later as Darley Refractories Ptd Ltd and was in business for over 100 years. The tile (aka refractory) described in this record was possibly produced for use in very high temperatures (in excess of 1,000°F [538°C]) encountered in modern manufacturing. More heat-resistant than metals, they are used to line the hot surfaces found inside many industrial processes. The date the tile was produced is unknown.Rectangle shaped ceramic tile'Darley 26' inscribed within a circledarley firebrick company, refractory materials, wittick family bacchus marsh, william thomas wittick 1857-1939, darley refractories ptd ltd

John DERMER (1949- ) Born Melbourne, Victoria John Dermer studied Ceramics at the Royal Melbourne Institute of Technology and Hawthorne State College (Diploma of Education), before working in potteries in England. Upon his return to Australia he established "Kirby's Flat Pottery" studio at Yackandandah, Victoria in 1974. John is proudly a product of the Leach/Hamada movement in ceramics. He sees this as a tradition that for him represents the essence of working with clay. The lines are pure and balanced while the forms are honest, proud and passionate. Yars of research and experience in salt glazing were rewarded in 2006 when John Dermerwon the highly prestigious Saltzbrand Keramik International Award in Koblenz, Germany. Another avenue of ceramics for which John is renowned is in the field of terra sigillata. This passion had its foundation back in 1987 when he received a major commission from Romaldo Giurgola and Pamille Berg for the new Parliament House in Canberra. During the completion of these massive pieces for the Prime Minister’s suite and Cabinet entry he had to invent and develop methods for decorating and firing the pots successfully. The completed pieces are still regarded by John as some of his finest works. John Dermer was a visiting lecturer to the Gippsland Centre of Art and Design (GCAD). 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.Salt glazed stoneware pot 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.Signed on base 'John Dermer'john dermer, ceramics, artwork, artists, gippsland campus, jan feder memorial ceramics collection, salt glaze, kirby's flat pottery, stoneware

The ceramic insulators were used by the PMG to insulate telephone lines connecting to the lightstation accommodation. The installation of a single galvanised wire telegraph line in 1873 provided the lightstation with a vital link to the outside world via Morse code. In 1875, the Australasian Sketcher reported on the new facility, writing that ‘the lighthouse on the extreme point of the promontory is connected with Melbourne by a line of telegraph, and as a large number of vessels pass in sight of the lighthouse, useful information is gained respecting their movements’.The system was immobilised in 1885 when a thunderstorm caused some of the poles to explode and connection wires to fuse and turn into molten metal. During WWII the lighthouse line was upgraded to four copper wires, and in 1971 a radio link replaced the line. The lines required constant maintenance. Some poles remain along the length of the promontory’s Telegraph Track as reminders of this former communication link. Insulators can also be found in the collections at Cape Schanck; Cape Otway and Gabo Island. Comprises a white ceramic insulator attached to a rectangular metal plate.

Royal Wedding souvenir for the wedding of Prince Charles and Lady Diana SpencerTwo soaps with pictures of Prince Charles and Lady Diana Spencer attached. One dish printed with identical picture. All in original package Ceramic soap dish and permanent picture soap.

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

Mark REID Mark Reid began working with clay in the early 1980s, working for a time at Kairi Pottery in North Queensland. In 1985, he and his wife Robyn set up the Torvil Pottery at Buninyong, Victoria. In 1991, they relocated to a 10 acre property in nearby Magpie and set up the Ballarat Clayfire Gallery with a working studio, gallery and residence. In 2005, the Clayfire Gallery was located to Daylesford. Reid signs his work with an incised 'Mark Reid' or 'MR'. Photograph of a hand thrown ceramic vase. australian landscape pottery, gilbert buchanan, graham wood, landscape, redbyrne pottery, ceramics, shepparton, torvil pottery, ballarat clayfire gallery

Photo of a hand thrown ceramic vase. ceramics, australian studio pottery

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Red press moulded ceramic face art, artwork, ceramics, horsham campus art collection, horsham available

Two lidded ceramic canisters by Jillibyjilliby pottery, jan feder memorial ceramics collection

Garry BISH (03 March 1950- ) Born Charlton, Victoria After training as a secondary school art teacher in Melbourne in 1968-69, Gary Bish moved to Bendigo, where he established the Potters Arms Studio in Epsom in 1972 while studying for a Diploma of Art and Design in ceramics at the Bendigo Institute of Technology, graduating in 1974. Establishing an independent studio in Epsom in 1972, Garry Bish has lectured in Ceramics for many years. Bish marks his work with his signature or an impressed 'B' with a stem like a feather.Black ceramic bottle with green dots. ceramics, gary bish

This ink-well was used in the Bacchus Marsh Court House, possibly for book-keeping and/or for court records. This type of ink-well and pen were in use everywhere in schools, businesses, courts, etc before the invention of the type-writer and the ball-point pen. Clerks were usually male and a good copperplate hand-writing was admired. Ink was often mixed by hand used a powdered ink mixed with water.Of local significance in the history of the town of Bacchus Marsh.Round pewter ink-well, with hinged lid and ceramic insert. Five round holes pierced in inner rim of metal to hold pens. Two ribbed bands around exterior of pot. Two bands indented around top of lid. Insert designed to hold ink. Pen with marbled blue handle, metal nib holder and metal nib.Indecipherable imprint on bottom of pot, possibly machine markings. Illegible written marks on side of pewter pot. Ceramic insert marked on side and bottom by red and black ink.ink, ink well, hand writing, record keeping, pens, nibs, clerical work, court records

John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) in 2007 John completer a Masters at the University of Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Botanical inspired wheel thrown goblet with decorative incised leaves on stem and flower head shaped cup. Glazed 'JOL' on bottom.art, artwork, goblet, botanical, ceramic, john o'loughlan, alumni

Modern communication technologyarrived on gabo Island with the construction of the telegraph line from Eden to Gabo Island in 1870. The insulator is associated with the telegraph station. Used at the H.F Radio Beacon. The items of telegraphic equipment comprise a number of ceramic and glass insulators of varying age and type. In addition to insulators, there is a telephone insulator bracket made of metal with wooden pins. It was once attached to the top of a steel pole and some of these remain in situ along the former telegraph line (0044). Telegraphic communication commenced at the Gabo Lightstation in 1870, just eight years after the lightstation opened. The line from Sydney reached Eden, NSW by 1868 and was then extended to Gabo with the costs shared equally by NSW and Victoria. It was initially carried on posts across the sea to the island but was changed to a line along the seabed after the posts were washed away. The first telegraph office was a timber building on east side of the assistants’ quarters. In 1887 a new concrete telegraph office was built which included quarters for the operator, with Victoria and NSW sharing the construction costs. The 1992 CMP identified remnants of the line from its various phases of operation,and these were seen in 2016. Other ceramic insulators in the collection are associated with lines supported on utility poles for the transmission of high voltage electricity. The various insulators have second level significance for their historic value and provenanceFour armed cross shaped insulator with two holes through diagonally opposite sections. It is ceramic with a clear glaze.

Small ceramic platter with Aboriginal motif glaze.ceramics, guy boyd, aboriginal motif

Les MacLEMAN Les MacLeman was Apprenticed to Michael Cardew and was trained to make beautiful pots. He survived the late 1980s recession by slip-decorating them with Australian themes for the sourvenir market. In 2001, MacLeman was working part-time at Bendigo Pottery. A bright landscape scene on a handcrafted ceramic plate.australian landscape pottery, les macleman, ceramics, landscape

Two wood fired ceramic 'egg' sculptures.

David BRADSHAW (b. 1949- ) Press moulded and hand decorated ceramic platter.ceramics, jan feder memorial ceramics collection, gippsland campus

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.Ceramic plate, boxed to enable it to be displayed on a wall. art, artwork, dianne reeves, ceramics, available

Crockery pieces used daily in the boarding houses of Sacred Heart College and St Martin's in the Pines. The pieces are stamped with 'Sacred Heart College Ballarat' underneath an image of the Lamb of God. These pieces were returned to the College after being souvenired by a graduating boarder in the 1960s.Ceramic cup and saucer with navy and gold detailMarked with 'Sacred Heart College Ballarat' underneath an image of the Lamb of Godboarding school, catholic education

Ian F. COOK Studio potter in Geelong.A ceramic plate with leaf and gum blossom design. ian cook, ceramics, studio pottery, ian f. cook, australian studio ceramics, gum blossom

This item would have been used as a salt container and would have been part of a dinner set. This would have been used for special occasions . It is in good condition and is a good example of this type salt storage jar. As this has a brown willow pattern instead of the usual blue it makes this make this salt despenser rare item.This has social and historical significance as it shows what items families used for special dinner occasions. It is the only one our collection and therefore will have good interpretation value for exhibitions . Small Ceramic jar with brown willow Chinese pattern. Copper hinged lid with recess for spoon. The spoon is required to dispense the mustard.ceramic, copper, chinese, table items, kitchen, domestic, mustard, willow pattern