Item in the collection of "Frederick Baxter MC". Refer Cat No. 4219 for his service history.White porcelain model of soldier firing a Vickers Machine gun. On front the shield of the town of Welwyn. Shield has image of red deer and at top a picture of a cathedral. Base has gold rim around edge.On bottom is written "Model of Tommy and His Machine Gun RTN7657214" On shield on front "WELWYN".baxter collection, souvenir, ceramic model, baxter mc

Souvenir from England in WW1. Part of the collection of "Capt. Fred Baxter MC". Refer Cat No. 4219 for his service history.porcelain model of British soldier riding a motor bike. on side of front wheel is the shield emblem of Welwyn, a town in England. There is a hole in the bottom.on bottom is the stamp of a swan around which is written 'Swan China'. At bottom is written "Model of Despatch Rider" and a code number.baxter collection, fred baxter mc, souvenir, ceramic model, ww1

Newspaper clipping, The Age 15/7/1992, titled "Hit by a bureaucrat's tram", written by Kevin Childs, photo Angela Wylie, about Phil Pinder, an artist who created ceramic models of the Transporting Art trams. Who was displaying and selling them. This breached copyright, advised by the Ministry of Arts.trams, tramways, transporting art, copyright, models

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, abstract figurative sculpture, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Hand modelled ceramic sculpture of a Madonna and Child figural group. The abstract figures are fully covered in an olive green overglaze, apart from the base which is overglazed in cream. The base has an incised spiral beneath the glaze, which was used to decorate the hidden surfaces of a number of pieces, The base is signed with the artist's name around the edge.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), sculptures, abstract art, madonnas and child, viola annie mcvicars, viola annie ayling

A rolling pin is a simple tool used to flatten dough. The first civilisation known to have used the rolling pin was the Etruscans. Their advanced farming ability, along with a tendency to cultivate many plants and animals never before used as food and turn them into sophisticated recipes, were passed to invading Greeks, Romans, and Western Europeans. Thanks to the Etruscans, these cultures are associated with gourmet cooking. To prepare their inventive foods, the Etruscans also developed a wide range of cooking tools, including the rolling pin. Although written recipes did not exist until the fourth century B.C., the Etruscans documented their love of food and its preparation in murals, on vases, and on the walls of their tombs. Cooking wares are displayed with pride; rolling pins appear to have been used first to thin-roll pasta that was shaped with cutting wheels. They also used rolling pins to make bread (which they called puls) from the large number of grains they grew. Natives of the Americas used more primitive bread-making tools that are favoured and unchanged in many villages. Chefs who try to use genuine methods to preserve recipes are also interested in both materials and tools. Hands are used as "rolling pins" for flattening dough against a surface, but also for tossing soft dough between the cook's two hands until it enlarges and thins by handling and gravity. Tortillas are probably the most familiar bread made this way. Over the centuries, rolling pins have been made of many different materials, including long cylinders of baked clay, smooth branches with the bark removed, and glass bottles. As the development of breads and pastries spread from Southern to Western and Northern Europe, wood from local forests was cut and finished for use as rolling pins. The French perfected the solid hardwood pin with tapered ends to roll pastry that is thick in the middle; its weight makes rolling easier. The French also use marble rolling pins for buttery dough worked on a marble slab. Glass is still popular; in Italy, full wine bottles that have been chilled make ideal rolling pins because they are heavy and cool the dough. Countries known for their ceramics make porcelain rolling pins with beautiful decorations painted on the rolling surface; their hollow centres can be filled with cold water (the same principle as the wine bottle), and cork or plastic stoppers cap the ends. Designs for most rolling pins follow long-established practices, although some unusual styles and materials are made and used. Within the family of wooden rolling pins, long and short versions are made as well as those that are solid cylinders (one-piece rolling pins) instead of the familiar style with handles. Very short pins called mini rolling pins make use of short lengths of wood and are useful for one-handed rolling and popular with children and collectors. Mini pins ranging from 5 to 7 in (12.7-17.8 cm) in length are called texturing tools and are produced to create steam holes and decorations in pastry and pie crusts; crafters also use them to imprint clay for art projects. These mini pins are made of hardwoods (usually maple) or plastic. Wood handles are supplied for both wood and plastic tools, however. Blown glass rolling pins are made with straight walls and are solid or hollow. Ceramic rolling pins are also produced in hollow form, and glass and ceramic models can be filled with water and plugged with stoppers. Tapered glass rolling pins with stoppers were made for many centuries when salt imports and exports were prohibited or heavily taxed. The rolling pin containers disguised the true contents. The straight-sided cylinder is a more recent development, although tapered glass pins are still common craft projects made by cutting two wine bottles in half and sealing the two ends together so that the necks serve as handles at each end.Tiny rolling pins are also twisted into shape using formed wire. The pins will not flatten and smooth pastry, and the handles do not turn. The metal pins are popular as kitchen decorations and also to hang pots, pans, and potholders. https://www.encyclopedia.com/sports-and-everyday-life/food-and-drink/food-and-cooking/rolling-pinThe use of the rolling pin to make thin pastry or pasta.Wooden rolling pin with some damage on cylinder section.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rolling pin, cooking, pastry

A saw is a tool consisting of a tough blade, wire, or chain with a hard-toothed edge. It is used to cut through material, very often wood, though sometimes metal or stone. The cut is made by placing the toothed edge against the material and moving it forcefully forth and less vigorously back or continuously forward. This force may be applied by hand, or powered by steam, water, electricity or other power sources. An abrasive saw has a powered circular blade designed to cut through metal or ceramic. In ancient Egypt, open (unframed) saws made of copper are documented as early as the Early Dynastic Period, circa 3,100–2,686 BC. Many copper saws were found in tombs dating to the 31st century BC. Models of saws have been found in many contexts throughout Egyptian history. As the saw developed, teeth were raked to cut only on the pull stroke and set with the teeth projecting only on one side, rather than in the modern fashion with an alternating set. Saws were also made of bronze and later iron. In the Iron Age, frame saws were developed holding the thin blades in tension. The earliest known sawmill is the Roman Hierapolis sawmill from the third century AD used for cutting stone.The subject item is believed to date from around the mid to late 20th century and is regarded as a modern item. The maker is unknown but the pattern or design and type of wood used indicate it is a tool of modern manufacture. Compass saw blade with wooden handle attached with wingnut.Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood cutting, wood saw, cross cut saw, cabinet makers tools, wood working tools, tool

A saw is a tool consisting of a tough blade, wire, or chain with a hard-toothed edge. It is used to cut through material, very often wood, though sometimes metal or stone. The cut is made by placing the toothed edge against the material and moving it forcefully forth and less vigorously back or continuously forward. This force may be applied by hand, or powered by steam, water, electricity or other power sources. An abrasive saw has a powered circular blade designed to cut through metal or ceramic. In ancient Egypt, open (unframed) saws made of copper are documented as early as the Early Dynastic Period, circa 3,100–2,686 BC. Many copper saws were found in tombs dating to the 31st century BC. Models of saws have been found in many contexts throughout Egyptian history. As the saw developed, teeth were raked to cut only on the pull stroke and set with the teeth projecting only on one side, rather than in the modern fashion with an alternating set. Saws were also made of bronze and later iron. In the Iron Age, frame saws were developed holding the thin blades in tension. The earliest known sawmill is the Roman Hierapolis sawmill from the third century AD used for cutting stone. The subject item at this time cannot be associated with an historical event, person or place, provenance is unknown, as the maker is unknown but the pattern or design and type of wood used indicate it is a tool of modern manufacture around the mid to late 20th century.Wood hand saw with wooden handle attached to saw by 4 rivets. No blade markings Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, handsaw, wood saw, carpenders tools, cabinet makers tools, wood cutting

It is possible that this may have been a wedding present or gift to Roy Wines and or his family as his name is scratched on the bottom. Roy was married in 1924 in Warrnambool. Roy Arthur Wines was Born in 1897 in Mailors Flat Victoria Australia and Died in 1980 in Ballarat. Roy lived for a number of years in Warrnambool during his married life.A massed produced item that at the time was cheap to buy with no makers mark or date stamp thousands would have been produced using a mould to make the ceramic case in two half's by pouring liquid clay into the mould and then joining the half's together when cured. This item could have been produced in Holland at any number of pottery factories at this time for export in vast quantities.Ceramic clock; the mechanism is plated steel and set in a ceramic case with glass over the face. The ceramic base colour is white with royal blue ceramic colour to the front and sides only. The blue ceramic has been painted over with lime green house paint on the front and sides. An inscription of a handwritten name is on the case and a hard-to-read model or batch number is on the cast base. Handwritten "Roy Wines" Cast number "6072"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, clock, roy wines, ceramic, ceramic clock, horology, time keeper, travel clock, bedside clock, timepiece

A saw is a tool consisting of a tough blade, wire, or chain with a hard-toothed edge. It is used to cut through material, very often wood, though sometimes metal or stone. The cut is made by placing the toothed edge against the material and moving it forcefully forth and less vigorously back or continuously forward. This force may be applied by hand, or powered by steam, water, electricity or other power sources. An abrasive saw has a powered circular blade designed to cut through metal or ceramic. In ancient Egypt, open (unframed) saws made of copper are documented as early as the Early Dynastic Period, circa 3,100–2,686 BC. Many copper saws were found in tombs dating to the 31st century BC. Models of saws have been found in many contexts throughout Egyptian history. As the saw developed, teeth were raked to cut only on the pull stroke and set with the teeth projecting only on one side, rather than in the modern fashion with an alternating set. Saws were also made of bronze and later iron. In the Iron Age, frame saws were developed holding the thin blades in tension. The earliest known sawmill is the Roman Hierapolis sawmill from the third century AD used for cutting stone.The subject item is believed to date from around the mid to late 20th century and is regarded as a modern item. The maker is unknown but the pattern or design and type of wood used indicate it is a tool of modern manufacture. Compass saw blade with wooden with open handle blade attached with wingnut lever at side to adjust long narrow blade Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood cutting, wood saw, cross cut saw, cabinet makers tools, wood working tools, tool

A saw is a tool consisting of a tough blade, wire, or chain with a hard-toothed edge. It is used to cut through material, very often wood, though sometimes metal or stone. The cut is made by placing the toothed edge against the material and moving it forcefully forth and less vigorously back or continuously forward. This force may be applied by hand, or powered by steam, water, electricity or other power sources. An abrasive saw has a powered circular blade designed to cut through metal or ceramic. In ancient Egypt, open (unframed) saws made of copper are documented as early as the Early Dynastic Period, circa 3,100–2,686 BC. Many copper saws were found in tombs dating to the 31st century BC. Models of saws have been found in many contexts throughout Egyptian history. As the saw developed, teeth were raked to cut only on the pull stroke and set with the teeth projecting only on one side, rather than in the modern fashion with an alternating set. Saws were also made of bronze and later iron. In the Iron Age, frame saws were developed holding the thin blades in tension. The earliest known sawmill is the Roman Hierapolis sawmill from the third century AD used for cutting stone.The subject item is believed to date from around the mid to late 20th century and is regarded as a modern item. The maker is unknown but the pattern or design and type of wood used indicate it is a tool of modern manufacture.Compass saw with wooden handle and metal blade. Small teeth. flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood cutting, wood saw, cross cut saw, cabinet makers tools, wood working tools, tool, compass saw

A saw is a tool consisting of a tough blade, wire, or chain with a hard-toothed edge. It is used to cut through material, very often wood, though sometimes metal or stone. The cut is made by placing the toothed edge against the material and moving it forcefully forth and less vigorously back or continuously forward. This force may be applied by hand, or powered by steam, water, electricity or other power sources. An abrasive saw has a powered circular blade designed to cut through metal or ceramic. In ancient Egypt, open (unframed) saws made of copper are documented as early as the Early Dynastic Period, circa 3,100–2,686 BC. Many copper saws were found in tombs dating to the 31st century BC. Models of saws have been found in many contexts throughout Egyptian history. As the saw developed, teeth were raked to cut only on the pull stroke and set with the teeth projecting only on one side, rather than in the modern fashion with an alternating set. Saws were also made of bronze and later iron. In the Iron Age, frame saws were developed holding the thin blades in tension. The earliest known sawmill is the Roman Hierapolis sawmill from the third century AD used for cutting stone.The subject item is believed to date from around the mid to late 20th century and is regarded as a modern item. The maker is unknown but the pattern or design and type of wood used indicate it is a tool of modern manufacture. Compass saw with wooden handle broken and metal blade. Small teeth.Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood cutting, wood saw, cross cut saw, cabinet makers tools, wood working tools, tool, compass saw

The Royal Winton brand has always been synonymous with quality and design and has roots in Stoke-on-Trent, England that go back over one hundred years. Originally known as Grimwade Brothers it was founded by Leonard Lumsden Grimwade. Leonard had shown a natural talent for modelling pottery and it was in this field that his infant business began, in 1885. He was soon joined in the business by his older brother, Sidney Richard, another potter. The family of Daphne Sturt were early settlers in Moorabbin ShireCirca 1890 to 1900. A Grimwade's floral and black-patterned ceramic vase with detachable "frog" for holding flowers in place. The rim of the vase is trimmed with gold. On the bottom of the vase there is a Backstamp: Grimwade, Winton, Stoke-on-Trent, England. Made in England. The Grimwade's makers -mark is also present.grimwade leonard, ceramics, pottery, stoke-on-trent, early settlers, craftwork, moorabbin, brighton, ormond, sturt lesley, sturt daphne, bentleigh

Hecla electric jug, owned by Colvin family of GreensboroughCeramic electric jug, 24o volt, pale yellow cream, skirted design, with sliding Bakelite lid and double elementHecla Australia (on lid), [Model] J9, NPA Ps90hecla, electric jugs

Staffordshire dog figurines are matching pairs of pottery spaniel dogs, standing guard, which were habitually placed on mantelpieces in 19th-century homes. Mainly produced by Staffordshire pottery factories, these earthenware figures were also made in other English counties and Scotland. They are also known as hearth spaniels or fireplace dogs as they were positioned on top of the mantelpiece. Many other breeds were produced, particularly the greyhound, though the spaniels were especially popular and this is attributed to royalty favouring the King Charles Spaniel breed. In Scotland, they have colloquially been termed 'Wally dugs.' and were manufactured in bulk at potteries in places such as Pollokshaws in Glasgow and Portobello near Edinburgh. Though the most popular, the dogs were only one of many types of Staffordshire figures; other animals and human figures of various kinds were also popular. Staffordshire dogs are nowadays collectors’ items and since the 1720s, spaniels had been produced by various pottery factories in Staffordshire. The quality of the modelling and painting of the Staffordshire dogs may differ from factory to factory. As the popularity of the figurines increased towards the end of the 19th century, the quality began to decline. Thousands were manufactured but originals in good condition and their correct pairs are now uncommon. These figures continued to be made until the 1920s and early models are of better quality. However, reproductions were still being manufactured in 2009.Early 19th century pair of Staffordshire dogs used as a mantle place display however given their damaged condition and being of a later provenance have little historic or monetary value. Ceramic white dog, figurine one of a pair, with painted face and collar. Both are nearly identical except one sits to the left while the other sits to the right.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ornament, ceramic ornament, dog ornament

1950s. Keeps boiling and doesn't turn off automatically.Used by a resident of the Kiewa Valley Yellowish cream ceramic body of jug with black bakelite hinged lid. One end is a spout and the other the plug and handle. The cord is brown and white and of medium length. It has a thermostat.Printed on the Base: 240V - 1650W / Model No EEJ I-AC only / App. No. N550 / Jug Body by / Fowler Ware.electric jug, fowlers ware

This electric kettle/Jug is shaped in the style of the Art Deco period 1930's to 1950's (in Australia). It was at the beginning of the wave of creative kitchen ware to stimulate and impress visitors and uplift what used to be a boring kitchen environment.This "art deco" electric kettle is very significant to the Kiewa Valley because it highlight that rural families and areas where in step (fashion wise) to their city "cousins". In the mid 1900's "the fashion" in Australia was (on the whole) always some years behind that of England and Europe. The years after World war II reduced the time lag between the "advanced fashion" of Europe and England and came in step with the emerging modern American fashion. American "film stars" started have their fashion projected onto the silver screens.This electric Fowler ware is a ceramic hot water jug. Its shape is in the "Art Deco" style of the early 1920's.On base "240V - 1650W" below this "AC ONLY" below this "MODEL No. EEJ" "APP. No. N550" below this "JUG BODY BY" under this and in script style "FOWLER WARE" below this "1583"kitchen appliances, tea/coffee preparation, light refreshments, hospitality offerings, art deco styles in appliances

Page 133: "..Studio potters and ceramic artists began settling in this area (Warrandyte) from about 1945.. Meanwhile a group was developing at Cottles Bridge, making their own kick-wheels and kilns and producing pots and models by what often began as a co-operative system, two or more artists co-operating in making each article... Husband and wife teams predominated.. Laycock and Alma Shanahan have been responsible for the now thriving reputation of the "Dunmoochin" pottery.."Black and white photograph reproduced on p131 of 'Pioneers & Painters: One Hundred years of Eltham and its Shire' by Alan Marshall (1971)pioneers and painters, peter laycock, dunmoochin, pottery

Established: Worcester, Worcestershire, England in 1751 by Dr John Wall and William DavisVictorianLedger Bequest, 1993Vase of pierced porcelain with two handles and decorated with gilding.Verso: ROYAL WORCESTER ENGLAND maker's mark in gold centre of base; "871" in gold under maker's mark; "G owen" inscribed below maker's mark; " 61" in black underglaze below inscription; "1K" stamped into base on right of inscription.vase, ceramic, handles, intricate modelling, gilded, worcester

MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. 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. 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.malcolm boyd, ceramics, artist, artwork, jan feder memorial ceramics collection, gippsland campus, alumni

MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. 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. Jan Feder Memorial Collection Presented by the artist in 1977. malcolm boyd, ceramics, stoneware, artists, artwork, jan feder memorial ceramics collection, alumni, woodfire

Ceramic head and shoulder depiction of a sailor. Model contains Bullocks Tawny Port unit #17. Produced by Ceramic Innovations Pty LtdROYAL AUSTRALIAN NAVY on headband and JACK TAR on lower neck

A Yamaha 'White Gold 90' Ceramics Series tennis racquet, featuring: open throat, truncated shaft; nylon net strings; grey synthetic handle grip; white plastic shaft casing; and grey plastic butt cap. Manufacturer nameprinted on bridge. Logo inlaid in silver in butt cap. Model name printed on base of shaft and outer edges of shaft pillars. 'Y' logo sprayed onto net. Materials: Ceramic, Plastic, Nylon, Adhesive tapetennis

An Esquire 'Grand Slam' tennis racquet with open throat and handle wrapped with leather. Manufacturer name across base of head. Model name printed along edge of shaft. Word 'CERAMIC' printed on crown. Plastic butt cap features manufacturers 'E' logo. Logo also featured at top of handle. Spalding-branded strings. Materials: Metal, Adhesive tape, Plastic, Leather, Ceramic, Ink, Vinyltennis

Florence Nightingale is a key figure in nursing history. [The Glaswegian coat of arms is not often seen, especially with an English banner, rather than Latin.]Florence Nightingale is a key figure in nursing history, and the possession of her statuette could potentially signify spiritual, cultural or social beliefs of the owner of the object. Additionally, the factory mark could provide an international connection to the collection at large.White ceramic statuette of Florence Nightingale, right arm missing hand w/ glue residue, hollowware with flat-back base, small hole on back of statuette, coloured Glaswegian coat of arms upon the front face of base, gold gilded trim on top and bottom of statuette base. 'Let Glasgow Flourish' [Glasgow Coat of Arms] / 'Florence Nightingale 1820-1910' [Description of depiction of statuette] / 'Alex Maclaren & Sons Glasgow' [Factory Mark]. florence nightingale, glasgow, uk nurses, crimean war

Greg Daly has played a pivotal role in Australia’s professional craft movement since his early training at the Royal Melbourne Institute of Technology (RMIT) in the 1970s. Internationally acclaimed and respected for his use of glazes, his work has been shown in more than 100 solo exhibitions and he is represented in over eighty national and international public collections. In the mid-1970s, Daly began experimenting and producing ceramics that sat outside the representational or realist model. An example of this is Form from 1981. This vivid blue ceramic highlights the artist’s proficiency with glaze, as he has enhanced form and shape through subtle colour and tonal variations. Throughout his career, Daly has consistently experimented with unique effects, privileging the creative process and the intricacies of his medium without always knowing the outcome. Describing craft as the most intimate of art forms – as it is often used and touched – Daly’s work has a sensuality that celebrates the nuances and beauty of clay.