Mystery Maker Marked SP

Designer	Cotton (UK)
Maker	Unknown, possibly test pieces from Lane.
Marks	“SP” roughly painted to base
Description	Shoddy slipware copy of Lane or Elischer (Cotton) design, with dark green poorly applied overglaze and unglazed base. Interior of bowl has an off –white matte glaze and has discoloured in some due to absorbtion of contents at some stage
Number
Production Date	Early 1970s ?
Width	92mm
Depth	43mm
Length (with handle)	130mm
Weight	210gm
Volume	250mm
Acquisition	Sylvies Second Hand Shop, Huntingdale

These ramekins are of roughly made slipware using a design common to Lane in the 1960s. They are a poor copy and different dimensions to the original. The slip is less porous than the original on the outside but still chips just as easily. Were these pieces made by a learner? Any ideas? John (Wally) Elischer sold out in 1987. Prior to that, he had made pieces using the brand NCP. I doubt that these pieces are later than 1987. Style is that of Lane and are probably sample pieces, hence the "SP".

Elischer (Cottonware Copy)

Designer	John Elischer
Maker	Elischer
Marks	Impressed signature “Elischer” to base
Description	Teardrop shaped slipware bowl with white semi gloss glaze to exterior and harlequin colours to interior
Number
Production Date
Width	98mm
Depth	40mm
Length (with handle)	143mm
Weight	185gm
Volume	200ml
Acquisition

Elischer Pottery was started in Sandringham in 1947 by well-known sculptor John (Johann Wolfgang) Elischer (1891-1966) and his son, also named John, (real name Wolly). John (Snr) was born in Vienna and trained at the Academy of Vienna from 1908 to 1911 and was an Associate of the Royal Academy Vienna. It was reported that he won the Prix de Rome in 1909. This was a scholarship for art students, offered by a number of countries. Although his name does not appear on any of the list of winners, he may have been awarded a second prize. This is no shame because Manet and Monet both failed to win the Prix de Rome. There is no prizewinner listed under the painting category for 1909. Johan later studied in Paris (1910-1911) under the even more famous August Rodin.

After serving with the Austro-Hungarian forces in World War 1, he practiced as a sculptor in Vienna and designed figures for Austrian porcelain factories. In 1924, he became the Art Director at Dittman-Brunner, an Austrian light fitting and novelty manufacturer. He won an international competition in 1926 to design a memorial in South Africa for General Botha. An excellent example of his early work, the sculpture, 'Foundryman' is held in the Eckhart G. Grohmann Museum at the Milwaukee School of Engineering. This piece captures the intense concentration and skill involved in pouring metal.

John migrated to Australia in mid November 1936 with his sister Edith. While living in Douglas Street Toorak in 1951, John won the 200 guinea prize for a design for a jubilee medal for Australian Primary School and pre school children. The medal was given to the school children of Australia in 1951 to mark the fiftieth anniversary of the Federation of Australia. The design was chosen after a competition, with the valuable cash prize of two hundred guineas. It was won by John for his depiction of a man hand-sowing wheat. The wheat represents the seven States of Australia on the other side of the medal, at left 1901, at right 1951 in tiny letters near ground right, J.W.E. (obverse) Some of his notable sculptures are busts of Archbishop Daniel Mannix and Television great Graham Kennedy in clay. students.

At a meeting of the University Conservatorium Old Students, in November 1937, He said; "The origin of creative art is longing. Nature has given us all the incentive to mould, form, or create in one way or another. A child at play is only employing the creative urge it feels within itself, and an artist is nothing but a big child”. Elischer, P. Hurry and John Farmer together held an exhibition of works at the Atheaeum, Collins Street Melbourne, in June 1937. The catalogue lists 10 pieces of sculpture by 'John Wolfgang Elischer, A.R.A. (Associate of the Royal Academy) (Vienna)' (Copy in Museum Victoria History and Technology Department

In early October 1938, John’s two sons Frederick and Wolly arrived in Melbourne aboard the “Tiederic”. Wolly, who spoke no English, was apprenticed to his father and studied sculpture, since, as a child he was fond of modelling. Wolly joined the Scouts, an organization he belonged to in Austria before it was banned by the Nazis. Both boys were keen athletes. Also in 1938, his mother Anna died. She had been one of Franz Lizst's last students and was a renowned concert pianist.

Elischer also received commissions for sculptures including the King George V Memorial in Bendigo (1938). The statue was unveiled in September 1939 by the then Premier of Victoria, Mr Dunstan amidst complaints that local materials had not been used in the making of the statue. He also made a bronze fountain for businessman and philanthropist Sir Russell Grimwade in Toorak. After seven years in Australia, John applied to become a naturalized Australian in 1943. Austria, Australia, only a couple of letters different. In 1946 Huntley Pottery in Glenhuntly began making slip cast items designed by John Elischer.

John (Senior) died in 1966 and the business was continued by his son John (Wolly), until 1987 when it was sold. Prior to that, at some time, he started making pieces the brand NCP. The business continues today as “Unique Ceramics” at 31 - 33 Beaumaris Parade, Highett, Victoria. You probably have some of their stuff without knowing it. Have a look at the bottom of that ceramic port bottle of beer stein from the Dandenong Octoberfest. In 2002, Elischer Street in Canberra was named in his honour. Unique Ceramics continues to use the “Elischer” brand today on some of their wares.

Elischer

Designer	John Elischer
Maker	Elischer
Marks	Impressed signature “Elischer” to base
Description	Slipware bowl with white semi gloss glaze to exterior and harlequin colours to interior
Number
Production Date
Width	110mm
Depth	45mm
Length (with handle)	150mm
Weight	205gm
Volume	250ml
Acquisition

Elischer Pottery was started in Sandringham in 1947 by well known sculptor John (Johann Wolfgang) Elischer (1891-1966) and his son, also named John, known as Wally. John (Snr) was born in Vienna and studied in Paris (1910-1911) under the even more famous August Rodin.After serving with the Austro-Hungarian forces in World War 1, he practiced as a sculptor in Vienna.

John migrated to Australia in 1935. While living in Douglas Street Toorak in 1951, John won the 200 guinea prize for a design for a jubilee medal for Australian Primary School and pre school children Some of his notable sculptures are busts of Archbishop Daniel Mannix and Television great Graham Kennedy.

In 1946 Huntley Pottery in Glenhuntly began making slip cast items designed by John Elischer.Huntly Pottery is long gone but John’s business continues today as “Unique Ceramics” at 31 - 33 Beaumaris Parade, Highett, Victoria. You probably have some of their stuff without knowing it. Have a look at the bottom of that ceramic port bottle of beer stein from the Dandenong Octoberfest. In 2002, Elischer Street in Canberra was named in his honour.

Oven Master

Designer	Oven Master
Maker
Marks	24k gold stamped to base “Oven to Table Oven Master Australia”
Description	Square straight sided with rounded corners. Pink exterior with white interior, transfer print to base of various game birds. Unglazed rims with 24k gold trim on exterior. Hole to base of handle shows ramekins were mass produced. Tureen is oval with similar markings, but no interior transfers. Measures 29cm from handle to handle, 22cm wide, 8.5cm high without lid and approx. 16cm high from the top of knob on the lid. In good condition with no marks or chips.
Number
Production Date
Width	102mm
Depth	50mm
Length (with handle)	150mm
Weight	250gm
Volume	375ml
Acquisition	A nice Russian lady at the Camberwell Sunday Market.

Well-made factory produced high quality ceramics and glazing. Gold (originally would have had a sticker which said 24k gold guaranteed) trim denotes a high cost product. No information available on “Oven Master”. Any information would be appreciated. Currently, there is a New Zealand Company called “Ovenmaster”, making a variety of LPG cookers and BBQs. They manufacture, import and distribute appliances and accessories for boats, motorhomes, caravans and remote homes. If they are the OvenMaster, then maybe, many years ago they had someone local to make these items on their behalf. 

That someone was probably Nilsen Porcelain Australia, then operating near Bendigo in Victoria.  Nilsen made a whole variety of porcelain in pre-war Australia, (see my post on Servex).  These pre-war ramekins are decorated with a form of transfer that would have been unthinkable after the second world war.  Whoever made them at Nilsen then probably moved on to Diana because this colour and glaze reappears in some of their earlier work.  Similar clay, glaze and gold trim can be seen on the rare Diana marked teapot that turns up from time to time. This gold trim is reminiscent of the Austrian Augarten Porcelain. 

What may be confusing is the use of English game bird transfer prints to the outside of the tureen and the inside base of the ramekins. This pottery is unlike most Dianaware of the time, but it is Diana. The Technique when Gold is applied to the edge of decoration is called "Lining". The Gold used is normally 14K, 18K or 22K. The liquid gold decoration is normally fired at approximately 750o – 850oc. Lining is always done by hand. During the second world war (1941) Eric Lowe, a Sydney potter got Government contracts to produce ceramic wares for the armed forces. 

After the war, he changed production to domestic pottery and throughout the 1950s, Diana was the largest and most prolific pottery in New South Wales, producing hundreds of different products and designs. In the mid 1960s, they (Diana Pottery (Vic) Pty Ltd) had a shop in Melbourne at 343 Little Collins Street. I think it fair to say that you would have had a piece of Diana pottery in yours or your parents home at some stage, probably a mixing bowl or vase. 

The pottery was located at 122-126 Marrickville Road, Marrickville, Sydney and it continued until the mid 1960s, when cheap copies caused a decline in sales. Check out the Diana website for lots more examples of their output. Also, a potter at Bendigo Pottery told me that the conveyor that moves the pottery around the Bendigo Pottery today is said to have come from the old Diana Pottery after it closed in 1974. Marks include hand signed "Diana Australia", impressed "Diana" enclosed in a circle , "Diana Australia" with an imprint of the "Huntress", and stickers "Diana Made in Australia".

Diana

Designer	Diana Pottery Pty Ltd; Marrickville, New South Wales
Maker	Diana Pottery Pty Ltd; Marrickville, New South Wales; 1941 - 1966
Marks	Stamped “Diana Guaranteed Ovenproof”
Description	Decorated with wildflowers (flannel flowers) on the sides, earthenware, slip-cast, each have circular bowls with low rounded sides and are semi gloss white glazed, each has a hollow conical handle tapering towards the bowl.
Number	No number.
Production Date
Width	118mm 4.1/4”
Depth	45mm 1.3/4”
Length (with handle)	127mm 5.1/8”
Weight	Tray 800gm 17.8 oz Ramekin 250gm 8.9.oz
Volume	Ramekin 250ml 8.8 fl oz
Acquisition	Willow Court Antiques, New Norfolk Tasmania.

Eric Cornwell Lowe was born in Melbourne in 1901 at East Brunswick, Victoria.  At the time, a number of potteries operated in the area, but Eric’s father (Arthur Horace Lindsay Lowe, 1868-1938) was a Salesman and later an Agent.  His mother was Amy Beatrice Catterall (b1871).  Eric moved to Sydney and married Vera Louisa Christopher in 1932, they do not appear to have had children.   Arthur and Amy moved up in the world, moving from Brunswick to Moonee Ponds, then to Caulfield, an affluent Melbourne suburb.

Young Eric was quite entrepreneurial in his late teens as he began importing cut glass and crockery from Germany and Czechoslovakia.  Timing was not on his side as this began in 1939.  This company was called “Eric C Lowe Pty Ltd.”   “Maunufacturers of Utility and Fancy Earthenware”.

The shareholders of this company were;

·        Eric C Lowe

·        Mrs Vera Louise Lowe

·        John Christopher

·        Winston McKenley Christopher

·        Brian Winter LeQueene

·        Josephine Mary Permewan (Victoria)

·        Ralph Rankin  (Victoria)

Directors of the company were

·        E.C.Lowe

·        V.L.Lowe

·        J.Christopher

·        W.M.Christopher

·         

The business was incorporated in New South Wales on the 11^th of July 1939, having previously been carried on by Eric as a sole trader, and was given 401 ordinary and 2665 preference shares when incorporated. 

Eric had a large amount of stock on hand and could not sell it due to the stigma now attached to German goods.  So, during the Second World War (1941) Eric and Vera got Government contracts to produce ceramic wares (cream ware cups and mugs and pots and jugs) for the armed forces. Eric did not join up as many of his contemporaries did.  Many industries supplying the armed forces were “protected industries” and many of their employees were exempt from military service.  Most potteries at that time were geared for the war effort and the demand from Australian and American troops was enormous. 

Seen after the company incorporated, in 1941, Eric began making art pottery.  This did not last long as wartime restrictions meant that this was prohibited in May 1942.  They began making teapots, jugs, cups and mugs around May 1942.  During wartime, price control measures meant that Eric had to submit financial returns to the Commonwealth government.  This fixed the price that Eric could charge for the output. Thankfully, these records still exist.  These give detailed accounts of all the itemised accounting for the business. 

These are notable for showing that Fowler, Bakewell and Mashman were making similar items for the services.  Still, this did not stop the business from making a profit of 39.3% in 1940/41 and 26.0% in 1941/42.  Profits gradually dropped and the next year they only made about 13%.  In 1943/44, the profit was down to 10.7%.  The next year produced a deficit of £411.  Late in 1944, Eric had to repay 25 of his workers back pay because of a Womens Employment Board decision that he had underpaid them.  These were all women as most men had by then enlisted. 

Although born in Victoria, his pottery was started at 122-126 Marrickville Road, Marrickville, Sydney and it continued there until the early 1970s, when cheap copies and imports caused a drastic decline in sales and its eventual closure.  The giant Fowler works were already established there works in the area because of the clay found in the area, and later, Studio Anna commenced nearby.  They also purchased kaolin from the Pottery Clay Works for £3.15/- per ton.

In November 1945, a fire started by a lime kiln spread to the works and quickly destroyed much of the factory. Fire is an occupational hazard in potteries and brick works but nevertheless it was a devastating blow.  The works had been extensively refurbished the previous year.  Contracts from the Services were drying up and production had to revert to peace time items.  When the war finished, Arthur began had rebuilt and began making domestic pottery for the homes of the families of returned services people.  This included a large range of slip cast vases in a variety of gloss and matte colours, sizes and shapes, or sprayed to create a speckled texture,

Their output included such products as ceramic horse-head book ends, several other animal figures, (a pair of greyhounds was a popular product) tableware, utility and kitchenware. Over 200 different shapes were produced during their lifetime.  Some products were sold using the name “Hollywood.”  By the early 1950s the company had more than 70 employees and were producing a large range of hand painted articles which included "Waltzing Matilda" musical mugs and jugs, and produced bright "gumnut" pots with pale green and brown glazes.

The musical mugs and jugs played when lifted, but the movements were expensive and difficult to obtain, being imported from Switzerland, so many mugs and jugs that should have had movements were sold without at reduced prices. In the 1960s Diana diversified their range further into decorated oven and kitchenware, hand painted with maple, poinsettia, cornflower, blackberry, wattle and flannel flower designs.  In the 1960's, a variety of small slip cast vases hand decorated in gold were made for a gift shop in the Imperial Arcade Sydney which were marketed under the name 'Imperial'.  Although these are not ramekins, I have some of them.

After the Second World War there had been a massive increase in the number of potteries around Australia. Commercial, studio and backyard potteries were being established in the suburbs of most major cities and by 1955 there were over 12,000 people working in the quarrying and manufacture of clay related industries.  This also included brickworks.  After the war, Eric had changed production to domestic pottery and throughout the 1950s, Diana was the largest and most prolific pottery in New South Wales, producing hundreds of different products and designs, many hand painted. Native wildflowers were a popular motif.

Among them, as mentioned, the Flannel Flower, an iconic Sydney plant used in imagery and art since colonial times.  Sometimes known as the Sydney Flannel Flower, it is usually known as the Flannel Flower and was chosen to be the New South Wales floral emblem for the Centenary of Federation (1901-2001).  It is found in the sandstone national parks in the greater Sydney area and can be sometimes found in spectacular drifts.  The flowers are about 50mm in diameter and appear in Spring.  The stunning Pink Flannel Flower is rarely seen as it only appears in the summer following a bushfire.

Soon after the end of the Second World War, Eric began advertising for more staff and soon had a thriving business making home-wares for the thousands of ex-servicemen starting their families.  His pottery even had a staff canteen, far more advanced than many of the other one or two person companies operating on a shoestring budget.  In the mid 1960s, they (Diana Pottery (Vic) Pty Ltd) had a shop in Melbourne at 343 Little Collins Street. 

The potteries around Australia employed thousands of people, many given their start in Australia following migration from Europe after the second word war.  Eric Jungvirt who started Studio Anna was one who started with Eric at Diana.  I think it fair to say that you would have had a piece of Diana pottery in yours or your parents home at some stage, probably a ramekin, a mixing bowl or a vase. At their peak, Diana employed around 70 people but this had declined to around 30 by 1970.  They continued on for a few more years calling their output “Dana”. 

In Australia, the Whitlam Government had cut tariffs without warning by 25 percent in 1973.  1974 saw an increase in imports of 30 percent.  By mid-1974, Australia was in an economic slump with unemployment rising significantly.  Short-term credit rates rose to extremely high levels and this caused prices to spike sharply, and according to Government figures, inflation topped 13 percent for over a year between 1973 and 1974.  On top of these problems, wage parity was legislated for female workers meant an increase in wages costs.It was in this climate that Diana fell on hard times and ceased production.  Eric was by then in his early 50s.

Much of the Dana ceramics were copies of the later “Nefertiti” ramekins, with a rough textured (Avocado) exterior and a brown glazed lip and interior. They also produced wares using the names Hollywood, Imperial and just plain Australian.  Check out the Diana website for lots more.   Also, a potter at Bendigo Pottery told me that the conveyor that moves the pottery around the Bendigo Pottery today was said to have come from the old Diana Pottery after it closed in 1974.  The entire Marrickville site consisting of the Fowler, Diana and Studio Anna potteries was demolished and subdivided in 1982.  Eric died in Sydney NSW on the 10^th February 1977 age 76.  Vera lived on for many years.

Cotton (Lord Nelson)

No, I have not forgotten that this is a site for Australasian Ramekins. These are locally made examples of Cotton, U.K.

Lord Nelson Pottery was a British pottery that specialized in the creation of jugs and other tableware. Lord Nelson Pottery was the trade name used by Elijah Cotton Ltd. He founded Lord Nelson Pottery, Hanley, Stoke on Trent in 1885 and closing in 1981. He was there for the opening but missed the closure. Cotton started using the brand "Nelson Ware" about 1913 and the use of the name seemed to stop in the 1950's. According to an 1893 journal the business was built on the site of a previous works founded in 1758. Elijah had commenced his career some years earlier and to meet the needs of his growing business was obliged to find larger works.

After his father's death, Elijah’s son Edward Cotton took the helm of the growing firm, then Arthur, Edward's younger brother later took that position and was assisted in his later years by son Nigel. Lord Nelson Pottery was and always will be celebrated for its creation of jugs. The company became the largest manufacturer of jugs in the world. They also made an extensive range of most kinds of earthenware. Exporting was a very important segment of their business. They exported their products to many countries, including included Australia, New Zealand, South Africa, Canada and the United States. In each country a leading local firm represented their interests. Lord Nelson Pottery remains a favourite among collectors.

In Australia, their designs for ramekins seem to be produced firstly by Lane, Kemp and Willis, (Lane) in Burwood, Victoria, then by Elischer. Some of the Wembley ramekins also used a similar design.

Diana Pipkins

Oops!  This one turned out to be Japanese.  In the interest of accuracy, I have deleted it.