Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her Mother took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin.Lithographic print in black and white depicting Gate # 1 at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate 1, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph

Entry into the 2009 Nillumbik Prize. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Angela Nagel's creative practice is informed by an interest in the human condition, universal symbols, mythology and Jung's theory on the 'collective unconscious'. Her hybrid part human/animal creatures reference introduced species and indigenous Australian animals as a way for her to explore a personal mythology, and narrative, of home and environment. Recent work is developing around the relationship of ceramics to other materials such as glass, printmaking and found objects. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Human and animal like figure in the stance reminiscent of classical sculpture. Hand built ceramics with engobes, oxides, glaze and gold leaf Medium: Porcelain, oxide, underglazeangela nagel, nillumbik shire council collection, victoria, nillumbik prize, ceramic

Kate Hudson's highly patterned and decorative prints reflect her love of Australian birds and flowers from her immediate environment, as well as oriental art and her training in textile design. Her work is influenced by the Australian artist (printmaker) Margaret Preston and the vases depicted in her prints are based on the ceramic works of her husband Stephen Hudson. The wattle depicted is the Acacia Terminalis (Sunshine Wattle), a shrub or small tree that grows to six meters in height. It’s an Australian native commonly found in New South Wales, Victoria and Tasmania.A reduction coloured lino print. A ceramic vase with a black and white target print at its' centre holds a bunch of Acacia Terminalis (Sunshine Wattle). The vase rests on an orange table cloth decorated in white stylised flowers. The background is light pink. Hand written in pencil: low left '8/26'; bottom centre ' Wattle and Circle Vase'; low right 'Kate Hudson' hudson, linocut print, sunshine wattle, acacia terminalis, still life, margaret preston, ceramics, textiles, orient

Vipoo Srivilasa works predominantly in ceramics, creating unique contemporary porcelain sculptures, vessels and figures to transmit a universal message of cross-cultural experience. His works explore similarities between the cultures of homeland, Thailand and his adoptive home, Australia. His work is both a playful, and at times a political, blend of historical figurative and decorative art practices with contemporary culture. For more than 20 years, Vipoo has exhibited both internationally and throughout Australia, including Museum of Fine Arts, Boston; Saatchi Gallery, London; Ayala Museum, Philippines; Yingge Ceramics Museum, Taiwan; Nanjing Arts Institute, China and the National Gallery of Thailand. His work is held in national and international collections including the National Gallery of Australia, the Art Gallery of South Australia, GOMA, and the Craft Council, UK.

The Australian Tesselated Tile Co. began in Mitcham, south of the Railway Station, in 1886. It almost collapsed after the bursting of the land boom in 1890s, then recovered to become one of the world's greatest tile works. It made a greater range of tiles than any other known tile works, here or overseas.Glazed mosaic tile with Sunburst design in dark orange, light orange and cream. Edged in black(on back) '495' '6'ceramics, earthenware

Coloured copy of an advertisement promoting tiles produced by the Australian Tesselated Tile Co Pty Ltd.|Card was used to make a greeting sold to raise funds for the Vermont Elderly Peoples Homes.|See also NP1341 for original on back of sketch.australian tesselated tile co pty ltd, mosaic tiles, ceramics

Teracotta ridged roofing tile.Australian Tesselated Tile Co. Mitcham Vic 1036buildings, roofing, ceramics, terracotta

William (Bill) ONUS (15 November 1906-1968) Born Cummeragunja Aboriginal Reserve, Murray River, New South Wales Clan: Wiradjuri William Townsend (Bill) Onus was a shearer, actor and activist who revived the Australian Aboriginese League in Melbourne in 1946. He retired from politics in to start the Aboriginal Enterprises workship in Belgrave with his brother Eric. They produced boomerangs, woomeras, fabrics and greeting cards imprinted with Aboriginal motifs. He ran the business from his small factory and shop at Belgrave in the Dandenong Ranges. To promote his wares Bill Onus toured widely in Victoria and beyond as a travelling showman, giving demonstrations of boomerang-throwing, which he advocated as a national sport. (ADB) Bill Onus adopted similar imagery to that which appeared in mass-produced indigenised design; however, he used such works to draw attention to his political work with the ‘Committee for Aboriginal Citizen Rights’ and the ‘Australian Aborigines League.’ William McLintock (Lin) Onus is the son of Bill Onus. Ceramic form decorated with Aboriginal design by Bill Onus.aboriginal, bill onus, aboriginal enterprise novelties, ceramics

Photo of a hand thrown glazed bottle, in impressed makers stamp.. ceramics, sherlow pottery, australian studio ceramics, australian studio pottery

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

David WILLIAMs David Williams established Toolangi Pottery in Toolangi, Victoria, in 1977. In 1980, he completed a BA in Fine Art from Phillip Institute of Technology (now part of RMIT University). He produces mainly crystalline glazed bowls, platters, vases, lampbases and other domestic ware. His works are marked with an impressed stamp reading 'David Williams' or 'David WIlliams Handcrafted in Australia ' and he also used a cursive 'DP Williams'.Photograph of a hand thrown ceramic vase with crystalline glaze. It is signed on the base with a cursive 'DP Williams'. ceramics, pottery, david williams, crystaline glaze, crystalline glaze, toolangi pottery, studio pottery, australian studio pottery

Jill Giles is a potter who was active in Geelong from the mid 1970s until the mid 1990s. Her work may be marked 'J Giles' (painted), 'Giles Geelong Australia' (impressed) or G over J (impressed). Her daughter Melinda Solly also makes ceramics.Photograph of a hand thrown and decorated ceramic teapot by Jill Giles. ceramics, studio pottery, teapot, jill giles, coffee pot

Hand thrown jug.. australian landscape pottery, landscape, gilbert buchanan, sheparton, graham wood, redbyrne pottery, ceramics

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

Garry BISH (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

John GLEESON Living at Campbell's Creek for over 30 years, John Gleeson makes a range of functional stoneware pottery. He fell in loved with pottery during a hobby class in Geelong in 1972. He worked for a year at Canny Ridge Pottery in Harcourt. John Gleeson uses white stoneware and porcelain clay from The Bendigo Pottery, and buff clay from Bennetts Pottery in Adelaide. He mixed all his own glazes from commercially sourced raw materials, sometimes supplemented with ash from his fire and local red clay to get special effects.Large celadon platter with incised fish design. john gleason, studio pottery, ceramics, australian studio pottery

Maldon Pottery was established in 1973 by Neville Wilson (1946-1996), Tom Metcalf (1948- ) and Graham Masters (1950- ) on Barringhup Road, Maldon, Victoria. Tom Metcalf and Graham Masters Masters graduated from Bendigo College of Advanced Education all Bendigo graduates. Wilson ) He was a skilled drawer and did all the brushwork. Metcalf (1948- ) graduated in 1968, did two years' work experience at Non-porite in Melbourne, then worked as a thrower and decorator at Bendigo Pottery from 1971-73. He is T.M. on Epsom ware. Masters (1950- ) graduated in 1973 and established the Enterprise Pottery at Myers Flat with Morris Hesse in 1974, so must have joined the partnership later than the others. He left in 1984 to set up his own Sweenies Creek Pottery. Metcalf left in the late 1980s, leaving Wilson to operate the pottery by himself until his death in 1996. As well as using the Maldon Pottery stamp, Wilson signed some of his work with his name or an impressed 'N'. Photograph of a hand thrown ceramic bottle, with glaze design depicting an Australian landscape in the 'continuous trees' pattern.maldon pottery, ceramics, australian studio pottery

Hof Pottery was established in 1971 in Fremantle, Western Australia by German born Helmut Hof and Australian born Elizabeth Hof. They set up a commercial pottery business in a small converted house in Naval Base, south of Fremantle. They later built a factory on the site and employed a team of people to make a wide range of slip cast wares. These were sold through retail garden centres and large department stores. The business name was deregistered in 2003. Work may be marked with an incised 'Hof' and/or have a paper label reading 'Hof Pottery made in Australia'.Ceramic vessel with cork lid incised 'Hof'ceramics, hoff, australian studio pottery

Old Ballarat Pottery was set up by John Gilbert as part of the Old Ballarat Village, opposite Sovereign Hill. Gilbert had lectured at Ballarat College of Advanced Education before establishing the Edinburgh Pottery at Sovereign Hill in 1972 to enable visitors to see traditional trades at work. The Old Ballarat Pottery was a much larger concern, producing wares for sale through department stores and on party plan via Faberware as well as through the village. Early works looked as though they might have been made in the 1850s, with unturned bases, crude marks and dark treacle-like glazes. Peter Pilven, one of Gilbert's students, worked there after graduating from the Ballarat College of Advanced Education, teaching throwing to students like the potter John Ferguson, who was there from 1978-79. Potters were initially employed by Gilbert's company Pontresina Pty Ltd, registered in 1973. (The Old Ballarat Pottery was registered as a company from 1984-1994.) Early works are marked with an impressed long-tailed 'B', or an 'OB' on either side of a mine tower. A printed stamp also features a mine tower surrounded by the text 'Old Ballarat Pottery Made in Australia'. Later work is impressed 'Stoneware Old Ballarat Pottery Australia' with a kangaroo.Hand thrown blue glazed jug.Stamped 'Stoneware Old Ballarat Pottery?old ballarat pottery, australian studio pottery, jug, pontresina, ceramics

Robert MAIR Robert (Bob) Mair (1943- ) Born New Zealand A potter who trained at the Sturt Pottery in Mittagong under Les Blakebrough and later set up a pottery at Clifton Pugh’s Dunmoochin estate at Cottles Bridge near Melbourne. He then worked with John Olsen for two years from 1969-1970, with Mair throwing and Olsen hand-decorating the pots. During the 1970s, Bob Mair worked in goldfield production pottery in Ballarat with Robert Pitman before moving to Clarendon in the Adelaide Hills in South Australia in 1982. In the late 1880s and 1990s Robert Mair is working at Sturt Pottery timeline again in the late 1980s/1990s as a visiting potter under Campbell Hegan. In the early 2000s, he and partner Janie Kerr set up a pottery at Braemar in the Southern Highlands of NSW. They then moved, first to Sutton Forest where they took up a residency at Hillview, the former summer residence of the governors of NSW, then to Wingham in the Mid North Coast region of NSW. Mair’s work may be marked with an impressed ‘RM’, an impressed tricuspid symbol or both. In Clarendon, he continued to use the tricuspud symbol with an impressed ‘Old Clarendon Pottery Adelaide’ stamp. A Ballarat mark has not been identified, but simse this lidded pot was found in Ballarat it could be a cross in a circle?Lidded ceramic container with blue bamboo like design on the outside.australian studio pottery, ceramics, bamboo

Springmount Pottery is located in Creswick, Victoria, and produces and sells works designed by its owner, Tina Banitska, who also owns the Convent Gallery in Daylesford. Banitska came to Australia with her family from Greece in 1956. She trained at RMIT and Franklin State College, before taking over Doug Alexander's Springmount Pottery when he moved to Tharwa in 1976. Retaining the pottery name, she developed it as a workshop, employing throwers and decorators to make works to her design, and initially selling these through the Springmount Pottery Gallery on Main Street, Ballarat. The pottery now operates with its own gallery onsite. Banitska's initial interest in ash glazes is continued in the Pottery's ashware line and there has also been a wide range of other Springmount designs. Works are signed with a painted 'Springmount' often split over two lines.A hand thrown, glazed and decorated plate with attached bowl for dip.ceramics, springmount pottery, tina banitska, australian studio ceramics

Lorraine SIMPSON Lorraine SImpson sold most of her pottery to Bangles Gallery in Cobargo NSW which unfortunately burnt in the 2019/2020 bushfire. She was also known for making bonsai pots which were well loved by the bonsai community.Blue hand thrown vase with gumnut and leaf decorative feature.ceramics, australian studio pottery, gumnuts, lorraine simpson

Bill LONGLEY (03.12.1933 – 20.5.2020) Arrived Australia 1981 Bill Longley started an apprenticeship with “Kingwood Rural Industries” Surrey in 1948. In 1956 is changed name to “Greyshott Pottery" After serving in the Royal Air Force from 1954 to 1977 he undertook and later, teacher training, then bought the “Penderleath Pottery”, St Ives, Cornwall in 1977 from Anthony Richards and renamed it the “Cripplesease Pottery.” Bill made a wide range of domestic stoneware. He built up the pottery into a successful business, eventually selling in 1981 and migrating to Australia with his wife Sue. In Melbourne, Bill Longley made and sold pottery at weekend markets, as well as helping Robert Gordon (June Dyson’s son) set up his Pakenham pottery, which Gordon started in 1979. Bill Longley worked as an advisor and thrower with Robert Gorndon for some time." Bill retired in the late 1980s to Daylesford Works may be marked with an impressed 'Bill Longley, Australia'.Blue Vessel by Bill Longleyaustralian studio ceramics, bill longley, pottery, ceramics