October 2007


Dinner Kaye Pemberton, Serving bowl

This is a picture of our dinner table late one Saturday night. The ‘wrought iron’ cheese plate with twisted handles was made by Gary and Fran Palecek at their Tallaganda pottery in Braidwood in the late 1980s. We have other platters but this is the one we always use for cheese. The pale yellow colours are set off by the richly dark but slightly roughened surface and the angled sides prevent things from sliding off when carrying it to the table.

The fruit dish was made by the Canberra potter Kaye Pemberton. Cherries and red grapes always look wonderful when placed in this dish because of its shallow profile and olive green hatched lines. I put white grapes in a different bowl. The potter’s mark ‘KP’ is impressed on the side of the foot ring but we had forgotten who had made it until we saw some of her work with the same mark exhibited this year.

Rod Dilkes. Pair of noodle bowls

The tiny bowl on the cheese plate with the olives in it was made by Rod Dilkes, a Western Australian potter based at Margaret River. His work is characterised by glowing dark colours and Persian-style lustres. I always choose a Dilkes bowl for things like olives or pickled onions or stir-fried noodles that have their own lustrous surfaces.

Moraig Mckenna. Teapot and cup. 2004

We have a lot of working pots and get great pleasure from them. I use this faceted wood-fired teapot and cup made by Moraig McKenna every morning while going through eBay listings before David gets up. I have made hundreds of pots of peppermint tea in it since I bought it three years ago at the Laughing Frog Pottery near Gundaroo (now the Old St Lukes Studio). The handle broke yesterday and I was bereft. I carried it down to the study this morning but I will need to find a replacement. It was heavy and warm in the hand like an old friend but it doesn’t pour as well as it used to.

Pippin Drysdale. Pinnacles Series. 1995. 14 x 15cm diam. Pippin Drysdale. Pinnacles Series. 1995. 14 x 15cm diam. Pippin Drysdale. Pinnacles Series. 1995. 14 x 15cm diam.

This small (14 x 15 cm) perfectly thrown bowl with parabolic form has an intense orange interior bound into a radial cellular pattern by fine dark lines and lustre accents. The pattern continues on the outside as an undulating band below which flow striated lines of muted colour. The small unfooted base is marked Pippin Drysdale ‘95.

Pippin Drysdale is an internationally renowned potter based in Fremantle, Western Australia. She was born in Melbourne in 1943 but spent her childhood in Perth and returned there to live in 1972. She came late to potting, graduating from the Perth Technical College in 1982 and then obtaining a Bachelor of Arts from the Western Australian Institute of Technology (WAIT) in 1986.

At WAIT (now Curtin University of Technology) she became interested in design and experimented with painting onto clay slabs. Later she returned to the bowl shape as the form through which she could best explore the use of resist techniques and coloured lines and planes to evoke a sense of landscape. By 1995 she was working as a mature artist and achieving strong critical acclaim. She had exhibited at Narek Gallery here in the ACT in 1989 and 1992 but we had missed these exhibitions and were not particularly aware of her work.

I come from Perth and go back often to see my family. In 1995 David was with me and my sister and I took him to Fremantle for fish and chips at Cicerellos, a visit to the Fremantle Arts Centre in the old female asylum building and a walking tour of the back streets of the city. There we stumbled quite by accident on The Door Gallery and Drysdale’s solo exhibition of seventy works from her new Pinnacle series. We were enthralled and ran from room to room, knowing that just one of these pots was to go home with us and trying to choose which one.

When we go together to an exhibition somehow we always end up finding one piece that we both agree is the nicest. Price was a factor so we scorned the larger pieces, finding them showy. Amongst the more modest pieces that had not already been sold, this one stood out for us because of the intense colour inside the bowl, how this is constrained by the network of lines and the expressionist outside surface.

Back in Perth this August for family reasons we found that we had just missed an exhibition of Drysdale’s work at the John Curtin Gallery . The exhibition coincided with the launch of a new book on the artist (Ted Snell, Pippin Drysdale, Lines of Site, Fremantle Arts Centre Press, 2007). We were able to buy a copy of this book and found it enriching to know more about our piece and how it had been made.

Drysdale has her own website and continues to explore and refine new ideas in her Tanami Traces series with the help of collaborator Warwick Palmeteer who throws pots to her design.

Bowl with incised decoration Bowl with incised decoration Bowl with incised decoration. Mark

This large (22 cm) bowl with flared sides and blue-green glaze is finished on the inside with bands of incised decoration. The maker’s name is inscribed on the base. I’ve recorded it as Anthill Pottery for want of a better guess. I can only find one mention of an Anthill Pottery - a website (probably not Australian) with no content that was set up in 2004.

I don’t have any more information to add about the origins of this bowl so I thought I would say something about its foot ring. A foot ring is an area at the base of a pot that some potters add to give stability. It also provides a low pedestal from which the main form can spring. In this bowl the foot ring has been glazed, creating a continuity of colour as the profile changes. The area under the bowl where the name is inscribed is also glazed and the base of the foot ring is trimmed and beveled to form a white circle the colour of the clay body.

Jug with twisted handle Jug with twisted handle. Mark

Well-executed bases that explore the relationship between the form and the clay body are a signature of contemporary pottery, unlike the base of this much earlier blue-green jug with twisted handle by another mystery potter, “Scott”.

Ford, Geoff, Encyclopedia of Australian Potter's Marks, p.204 (detail)

Geoff Ford’s Encyclopedia of Australian Potter’s Marks documents potters and potteries active before 1975 but includes marks used after this period. I thought it might be useful to provide an index of entries in the encyclopedia for potters active in the 1960s-1970s and beyond. Having marks recorded for these potters provides a good start but collectors will need to go to a wide range of other directories to cover the field.

Alexander, Doug
Arden, Elsa
Beck, Robert
Blakebrough, Les
Bovill, Gillian
Brereton, Kevin
Carnegie, Francis
Douglas, Molly
Dunn, Phil
Englund, Ivan
Englund, Patricia
Garnsey, Wanda
Garrett, John
Gazzard, Marea
Gilbert, John
Greenaway, Victor
Halpern, Artur
Halpern, Stanislav

Halpern, Sylvia
Hick, William
Hughan, Harold
Juckert, Eric
Keys, Eileen
Laycock, Helen
Laycock, Peter
Leckie, Alex
Le Grand, Henri
Levy, Colin
Lowe, Allan
McConnell, Carl
McLaren, Gus
McLaren, Betty
McMeekin, Ivan
Memmott, Harry
Mitchell, Cynthia
Moon, Milton

Pate, Klytie
Peterkin, Les
Preston, Reg
Rushforth, Peter
Sadler, Ken
Sahm, Bernard
Sayers, Joan
Shaw, Edward
Smith, Derek
Smith, Ian
Sprague, Ian
Taylor, David
Travis, Peter
Tuckson, Margaret
Warren, Peggy
Welch, Robin
Wilton, Charles