Ramekin is thought to come from a Dutch word for "toast" or the German for "little cream."




Name

Ramekin

Variant

Ramequin, Ramekin dish.

Pronounced

(ramə kin)[RAM-ih-kihn]ræməkin

Function

English Noun

Plural

Ramekins

Hypernym

A type of dish

Purpose

Cooking

Etymology

French Ramequin from Low German ramken, diminutive of cream, circa 1706. middle Dutch rammeken (cheese dish) dialect variant of rom (cream), similar to old English ream and German rahm. Ancient French cookbooks refer to ramekins as being garnished fried bread.


Meaning

1. A food mixture, (casserole) specifically a preparation of cheese, especially with breadcrumbs and/or eggs or unsweetened pastry baked on a mould or shell.

2. With a typical volume of 50-250 ml (2-8 oz), it is a small fireproof glass or earthenware individual dish similar in size and shape to a cup, or mould used for cooking or baking and serving sweet or savoury foods.

3. Formerly the name given to toasted cheese; now tarts filled with cream cheese.

4. A young child usually between the ages of 3 months and 11 years exhibiting a compulsion to force or "ram" their head into various objects and structures.

These days, a ramekin is generally regarded as a small single serve heatproof serving bowl used in the preparation or serving of various food dishes, designed to be put into hot ovens and to withstand high temperatures. They were originally made of ceramics but have also been made of glass or porcelain, commonly in a round shape with an angled exterior ridged surface. Ramekins have more lately been standardized to a size with a typical volume of 50-250 ml (2-8 ounce) and are now used for serving a variety of sweet and savoury foods, both entrée and desert.

They are also an attractive addition to the table for serving nuts,dips and other snacks. Because they are designed to hold a serving for just one person, they are usually sold in sets of four, six, or eight. Ramekins now are solid white, round, with a fluted texture covering the outside, and a small lip. Please bear in mind that whatever you ask for them on Internet auction sites, someone is still getting the same thing in an op shop for peanuts.

However, there are hundreds of decorative ramekins that came in a variety of shapes and sizes. They came in countless colours and finishes and many were made by our leading artists and ceramicists. My collection has ramekins with One handle only, fixed to the body at one point only. If it has no handle, it is a bowl. If it has two, it is a casserole dish. But the glory day of the Australian Studio Art ramekin is well and truly over. See some here, ask questions or leave answers.

P.S. Remember, just as real men don't eat quiche, real ramekins don't have lids or two handles. Also remember, two handles makes it a casserole dish. Also, please note If it aint got a handle, it's just a bowl.

P.P.S. To all you cretins who advertise your ramekins by associating them with "Eames" or "Eames Era". Get your hand off it, you are not kidding anyone. The Eames people have told me that they never made ramekins.

P.P.P.s To all the illiterates out there in cyberspace, just as there is no "I" in team, there is no "G" in Ramekin. I am the Rameking, they are ramekins.

If you have a set of Grandma's ramekins at the back of a kitchen cupboard, have a look through the site, maybe you will identify them. Thank-you for looking.

There are many of you out there that have knowledge of Australian pottery. Please let me know if you have anything that I can add to the notes. It is important to get the information recorded. You probably know something that nobody else does.

Please note that while your comments are most welcome, any that contain a link to another site will no longer be published.

-


Friday, January 30, 2015

Isobel



Designer        
Isobel
Maker
Isobel
Marks
Incised “Isobel Australia Hand Made”
Material
Glazed slip
Description
Hand thrown gloss glazed two-coloured glaze to half of body. Straight, angled sides to raised foot ring.  Squared tab handle with dimpled top attached to upper third of exterior
Condition
Mostly very good.  Some small chips to base
Number
No number
Production Date
1960s
Width at rim
108mm
Width at Base
73mm
Depth
53mm
Length (with handle)
130mm
Weight
180gm
Volume
250ml
Acquisition
Purchase
Salvo Stores, Brandon Park
30th January 2015.
Rameking Reference Number
ISO 001-116


Designer        
Isobel
Maker
Isobel
Marks
No marks on one but stamped “Isobel Australia” on others
Material
Glazed slip
Description
Hand thrown gloss glazed white coloured glaze to interior of body and foot ring, Harlequin pastels to exterior. Straight, angled sides to raised foot ring.  Pointed tab handle with dimpled top attached to upper third of exterior
Condition
Mostly very good.  Some small chips to base
Number
No number
Production Date
1960s
Width at rim
108mm
Width at Base
73mm
Depth
46mm
Length (with handle)
140mm
Weight
200gm
Volume
235ml
Acquisition
Purchase
Rameking Reference Number
ISO 017-020


Designer        
Isobel
Maker
Isobel
Marks
Incised “Isobel” to base
Material
Glazed slip
Description
Hand thrown gloss glazed harlequin coloured glaze to interior and exterior of body with unglazed foot ring, Harlequin pastels to exterior. Curved, angled sides to raised foot ring.  Pointed tab handle with dimpled top attached to upper third of exterior
Condition
Mostly very good.  Some small chips to base and rim
Number
No number
Production Date
1960s
Width at rim
55mm
Width at Base
47mm
Depth
46mm
Length (with handle)
125mm
Weight
100gm
Volume
180ml
Acquisition
Purchase
Rameking Reference Number
ISO 021-025



Designer        
Isobel
Maker
Isobel
Marks
Painted “Isobel Aust”in black to base
Material
Glazed slip
Description
Mould formed matte glazed brown overglaze to interior and exterior of body, Harlequin pastels to exterior. Large curved, sides to raised foot ring.  Pointed tab handle with dimpled top attached to upper third of exterior.
Condition
Mostly very good.  Some small bubbles in glaze to base.  Run in glaze to each side.
Number
No number
Production Date
1960s
Width at rim
125mm
Width at Base
52mm
Depth
53mm
Length (with handle)
169mm
Weight
330gm
Volume
480ml
Acquisition
Purchase
Rameking Reference Number
ISO 026



Designer        
Isobel
Maker
Isobel
Marks
Painted “Isobel Aust”in black to base
Material
Glazed slip
Description
Mould formed matte glazed brown overglaze to interior and exterior of body, Harlequin pastels to exterior. Large curved, sides to raised foot ring.  Pointed tab handle with dimpled top attached to upper third of exterior.  Stencilled leaf pattern in pale brown to bottom of bowl interior
Condition
Mostly very good.  Spur marks to base.
Number
No number
Production Date
1960s
Width at rim
125mm
Width at Base
52mm
Depth
40mm
Length (with handle)
169mm
Weight
245gm
Volume
300ml
Acquisition
Purchase
Rameking Reference Number
ISO 027-129



Designer        
Isobel
Maker
Isobel
Marks
Painted “Isobel Aust”in black to base
Material
Glazed slip
Description
Mould formed matte glazed brown overglaze to interior and exterior of body, Harlequin pastels to exterior. Large curved, sides to raised foot ring.  Pointed tab handle with dimpled top attached to upper third of exterior.  Stencilled leaf pattern in pale blue to bottom of bowl interior
Condition
Mostly very good.  Spur marks to base.
Number
No number
Production Date
1960s
Width at rim
125mm
Width at Base
52mm
Depth
40mm
Length (with handle)
169mm
Weight
245gm
Volume
300ml
Acquisition
Purchase
Rameking Reference Number
ISO 030-034



Designer        
Isobel
Maker
Isobel
Marks
incised “Isobel Aust” to base
Material
Glazed slip
Description
Mould formed matte glazed black overglaze to interior and exterior of body. Large curved, sides to raised foot ring.  Pointed tab handle with dimpled top attached to upper third of exterior.  Stencilled leaf pattern in pale blue to bottom of bowl interior
Condition
Very good. 
Number
No number
Production Date
1960s
Width at rim
125mm
Width at Base
52mm
Depth
40mm
Length (with handle)
169mm
Weight
245gm
Volume
300ml
Acquisition
Purchase
Rameking Reference Number
ISO 031-032



Designer        
Isobel
Maker
Isobel
Marks
Painted “Isobel Aust” in black to base
Material
Glazed slip
Description
Mould formed white gloss glazed green overglaze to rim and top two thirds of exterior of body. Large curved, sides to raised foot ring.  Pointed tab handle with dimpled top attached to upper third of exterior.  Painted mushrooms in green and brown  to bottom of bowl interior
Condition
Very good. 
Number
No number
Production Date
1960s
Width at rim
125mm
Width at Base
52mm
Depth
40mm
Length (with handle)
169mm
Weight
245gm
Volume
300ml
Acquisition
Purchase
Rameking Reference Number
ISO 033



Designer        
Isobel
Maker
Isobel
Marks
Painted “Isobel Aust” in black to base
Material
Glazed slip
Description
Mould formed white gloss glazed brown swirled overglaze to rim and exterior of body. Harlequin interior.  Large curved, sides to raised foot ring.  Pointed tab handle with dimpled top attached to upper third of exterior. 
Condition
Very good. 
Number
No number
Production Date
1960s
Width at rim
115mm
Width at Base
67mm
Depth
48mm
Length (with handle)
160mm
Weight
225gm
Volume
325ml
Acquisition
Purchase
Rameking Reference Number
ISO 034-036





Designer        
Isobel
Maker
Isobel
Marks
Incised “Isobel Aust” to base
Material
Glazed slip
Description
Mould formed pale green gloss exterior.  Interior pink with floral pattern hand painted by Helen Ilich. Harlequin interior.  Curved, sides to raised foot ring.  Long pointedknife shaped handle with dimpled top attached to upper third of exterior. 
Condition
Very good. 
Number
No number
Production Date
1960s
Width at rim
120mm
Width at Base
60mm
Depth
42mm
Length (with handle)
177mm
Weight
230gm
Volume
270ml
Acquisition
Purchase
Rameking Reference Number
ISO 037-039


Designer        
Isobel
Maker
Isobel
Marks
Incised “Isobel” to base
Material
Glazed slip
Description
Mould formed pale pink gloss exterior.  Interior blue.  Curved, sides to raised foot ring.  Pointed tab handle with dimpled top attached to upper third of exterior. 
Condition
Very good. 
Number
No number
Production Date
1960s
Width at rim
118mm
Width at Base
60mm
Depth
50mm
Length (with handle)
158mm
Weight
215gm
Volume
320ml
Acquisition
Purchase
Rameking Reference Number
ISO 040



Designer        
Isobel
Maker
Isobel
Marks
Painted “Isobel Australia by Helen” to base
Material
Glazed slip
Description
Mould formed cream gloss exterior with green edging on rim and handle.  Interior cream with painted pea pod design by Helen Ilich.  Straight, sides angled down to raised unglazed foot ring.  Squared tab handle with dimpled top attached to upper third of exterior. 
Condition
Very good. 
Number
No number
Production Date
1960s
Width at rim
118mm
Width at Base
80mm
Depth
46mm
Length (with handle)
134mm
Weight
220gm
Volume
250ml
Acquisition
Purchase
Rameking Reference Number
ISO 041

Isobel produced around a dozen different ramekins over the relatively short life of the pottery.  There were only a few different shapes but each was decorated differently.  There appears to have only been two different handle shapes, either a pointed tab or squared tab handle, no matter the size or shape of the bowl.

Standard reference on pottery marks (Ford) refers to Hilda Ilich as being Isobel. I think he may be incorrect on this one. Helen Ilich, Painter and Ceramic Artist was born in Croatia in 1914, migrated to Australia 1950 is considered by many to be Isobel but I think they are wrong on this.  Isobel  probably refers to Isobel Joy Fraser who ran the show but I have no confirmation or information on this.  I got that information second-hand and cannot find any reference to any such person.  I believe that both Helen and Isobel may have worked together at Boyds.   These ramekins were made by  "Isobel Art Pottery" on the Maroondah Highway in Croydon, Victoria, now an outer suburb of Melbourne.  Little information is available on her or her work other than her working with Guy Boyd in Bentleigh before moving to Croydon where she worked in her normally one-person operation in a shed at the back of a shop.

Many of her ramekins are incised "Isobel" to the base or stamped.  The shape and style are like those of Guy Boyd and Ray Cook, perhaps an early work copying their Bentleigh studio.  Copyright was a little more flexible in those days.  Described as "Hand Made", some of her ramekins were thrown with the chocolate brown colour mixed into the clay and a light glaze applied to the interior.  Some ramekins are not stamped, or maybe it wore off from use.

Helen Ilich, Painter and Ceramic Artist was born in Croatia in 1914, migrated to Australia 1950. She worked at Ellis' in 1955, then Guy Boyd’s pottery, Crosbie Road, East Bentleigh. She left Boyds around 1960 to work at Isobel. She stopped at Isobel after 2 years to return to Ellis.  Helen then taught painting to women from a studio in her home. She continued painting into the mid 1990s and died in 2002.  She started by underglaze painting some of her work with her name "H.Ilich", on some of  "Isobel"s output, this is where the confusion arises.  

Little information is available on her or her work other than her working with Guy Boyd in Bentleigh before moving to Croydon where she worked mainly as a one-person operation in a shed at the back of a shop. Any other information would be appreciated.

For those who may be interested, here is a more fulsome story of Helen;

Jellina (Helen) Ilic (nee Popovic) (1914-2001) was a Serbian, born in the town of Osijec, Yugoslavia (now Croatia) on 19 February 1914. She was taught art by a Russian immigrant who lived in the area and hoped to attend art school in Vienna.

However her father resisted the idea and instead encouraged her to marry, which she did in 1934, marrying Bozidar Ilic (born in 1908), a Serbian from a poor family. He had hoped to study, but instead joined the army. Helen continued to paint at home until the birth of her son Vojislau in 1937. She also had a daughter, Nina, who was born in 1934.

During World War Two Bozidar was captured by invading Italians and held captive for several years. Upon his release he walked to Switzerland and enrolled in an architecture course for six years. During this time Helen worked as a high school art teacher in Yugoslavia.
In 1950 Bozidar immigrated to Melbourne and was initially employed dredging the docks. However around 1953 he gained employment as an architect with the Public Works department. The same year he arranged for his family to migrate to Australia with the assistance of the Red Cross. Helen and the children travelled on the SS Oceania (via Trieste - Genoa - Naples – Messira - Suez - Port Said - Aiden - Colombo – Fremantle) in the lower berths, which let in water when the seas were rough. Despite this discomfort Nina recalls enjoying the journey. Helen brought three to four crates with her, one of which held selected special paintings - a portrait of her grandmother, a landscape and a still life.

When his family arrived Bozidar bought a house at 75 Highett Street in Richmond - he had previously been living in Spring Street - and the family were sent out to work.  From Highett Street, Bodizar could walk to work.  Helen worked as a Kindergarten Assistant, she is listed on the Electoral Roll as a Teacher.  Nina worked with a dressmaker and Vojislau worked on building sites. Nina and Vojislau did eventually attend school, MacRobertson and RMIT respectively.  Vojislau becoming an Engineer,

Around 1955, Helen joined the Ellis ceramic studio in Fitzroy, which had been established by two Czechoslovakian immigrants, Dagmar and Miloslav Kratochvil, in the mid 1950s. Helen did decorative features on pots and vases (etching) before firing. This was paid piece work rates and she left the studio due to the dusty conditions.

She then joined Guy Boyd’s studio in East Bentleigh in 1956 or 1957 and was employed doing decorative paintings on the ceramics, according to Boyd’s directions. Boyd also encouraged Helen to do souvenir brooches, which she particularly enjoyed. Guy Boyd Pottery produced a wide range of modernist objects from house-wares to decorative pieces, featuring iconic Australian imagery, particularly flora and indigenous motifs.

Helen remained at Boyd's for two to three years, but left at the request of her husband. She then went to work with Isobel, who had worked with her at Boyd's, but had left to start her own studio in a backyard shed in Oakleigh. The conditions were basic and the travel times long.  Helen worked with Isobel for about two years and also worked part-time at Ellis, as they had requested her return.

In 1959 Helen and her family moved from Richmond to 36 The Righi, Ivanhoe, where she set up a studio in her home, teaching women oil painting, Bozidar was still working for the Public Service.  In the late 1960s she joined the Heidelberg District Artists' Society and exhibited in Heidelberg, in Fitzroy during Moomba and at the Camberwell Town Hall. She sold a small amount of work and continued teaching throughout the 1960s, but eventually stopped due to her husband's complaints about the smell, but recommenced after his death in 1992. She continued painting until about six years before her own death on 18 February 2002.

Helen generally painted in oils on board and canvas as she found water colours difficult. Her style was naturalistic and landscapes were her favourite subjects, although without a car she struggled to undertake “en plein air” paintings. The inspiration for her landscapes largely came from a folio she created of magazine clippings, catalogues and friends' photos of the Australian Outback and other locations, as the furthest she traveled after her arrival in Melbourne was to Magnetic Island, off the coast at Townsville, Queensland.   Because of her increasingly limited mobility, she did do still life work and some portraits, as she found the subjects more manageable.

Helen admired Australian artists such as Hans Heysen, Russell Drysdale, Arthur Streeton, Fredrick McCubbin, and also appreciated Aboriginal art. She loved Australia and its landscape particularly, wattles, evergreen trees, gum trees with their stripping bark, sheep and horses (she rode as a child), the sky, the climate and the light. Despite facing difficulties in her struggle to become an artist, including family opposition and domestic isolation, Helen persevered through the imagery provided by friend's travel photos, clippings from magazines and calendars and her own immediate environment.

Some of these ramekins show examples of her work, there are sprigs of wattle and other Australian wild flowers painted inside the bowls, as well as one with mushrooms and another with just a couple of leaves.






No comments:

Post a Comment