Schumann porcelain

Fruit Plates with lobed, pierced rims; various fruit cluster centers.

Originally from Angelroda (Thuringia) Christian Heinrich Schumann (*1822, †1884) had a small pottery in Arzberg that had to close because it was in the way of the railway which was finalized in November 1879 and connected Arzberg with the railway network.

Together with businessman Riess as financial backer, Christian Heinrich Schumann founded his new porcelain factory directly under the Jakobsburg castle, next to the market square in the town center and directly next to the railway tracks responsible for the closure of his previous business.

Carl Schumann II studied in America and founded the Schumann China Corporation of New York, which distributed Schumann products in the U.S. The factory was run by his brother Heinrich during his absence. While the new market in the U.S. at first seemed very promising, the world financial crisis which started in New York on October 25th 1929 put a dramatic end to nearly all Schumann export efforts.

Used between 1918 and 1929, single ‘SCHUMANN’ crown with ‘BAVARIA’.

French Wine Goblets

A vintage look that feels modern again.

Perfectly weighted, sturdy and charmingly adorned with a turned stem, the classic French wine glass has been around for decades.

A more generous bowl for serving wine as well as water, soda or cocktails.

Orrefors vase

“Sommerso” vase

Gray and clear glass, designed by Nils Landberg

An iconic series of mid 20th century Swedish glass. Nils Landberg (1907-91) designed his “Dusk” series in 1956 for the Orrefors glass company of Sweden. This series featured a smoky grey interior cased in an incredibly thick clear layer.

Height 6″ (15cm) Width 2″ (5cm), Height 9 1/4″ (23.5cm) Width 3 1/4″ (8.5cm), Height 6″ (15cm) Width 2″ (5cm), Height 7″ (18 cm) Width 3″ (8cm), Height 8 1/4″ (21cm) Width 3 1/8″ (10cm), Height 10″ (25.5cm) Width 4″ (10cm).

Orrefors bowl

Corona bowl

The heavy crystal circular ‘Corona’ bowl, designed by Lars Hellsten, comprising eight striking wedge shaped panels and a flat base; etched mark of Orrefors and numerals underside, with paper label.

Year of introduction 1978.

Height: 6cm Diameter: 18.5cm

Janet Gray

Large blue on white ramekin with crab, fish and starfish painting.




Janet Gray Studio at South Yarra was established by John Knight and Isabel Grose.

John Arthur Barnard Knight (1910-1993) was born in Warracknabeal, Victoria. He studied art at the School of Applied Art at the Melbourne Technical School (now RMIT University), and production methods at the Hoffmann and Maribyrnong Potteries, and also worked in the studio of Napier Waller from 1932-33. After graduating, he joined the staff, teaching pottery, modelling and drawing. In 1939, he took charge of the Pottery Department. In 1940 he married Isabel Grose, one of his students, and they established the Janet Gray Studio at South Yarra. He served in the RAF from 1942-1945, then continued to expand the Janet Gray Studio and to re-organise the teaching of pottery at the school, establishing courses for the Commonwealth Reconstruction Training Scheme, and upgrading classes to certificate and diploma courses in 1949 and 1950. He is best known as an educator, continuing to teach at RMIT until 1975.

A ramekin is 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 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.


Sgraffito (in Italian “to scratch”) is a decorating pottery technique produced by applying layers of color or colors (underglazes or colored slips) to leather hard pottery and then scratching off parts of the layer(s) to create contrasting images, patterns and texture and reveal the clay color underneath. The layer(s) of color can be underglazes or colored slips. Below is an example of one technique and what can be achieved.


source: Pottery decorating with Sgraffito step-by-step tutorial | Process, tools and materials

Tom Sanders

Lidded red earthenware jar

Made in 1962 by Tom Sanders, the sombre rounded form and teal colouring is enlivened by Miro like sgraffito drawings. The handles suggest a function perhaps lost in the mists of time.

It is a substantial piece, 30 cm high and shows in its imagination and wit the influence of his friend David Boyd, whom he regarded as pioneering some of the best pottery made in Australia.

His long association with the Boyd family began in the mid-forties at the newly-set-up Arthur Merric Boyd (AMB) Pottery in Murrumbeena. Later, he was one of a number of Melbournians who turned up at the Boarding House in Neutral Bay, Sydney, where David Boyd was staying, and where Guy Boyd had set up a pottery in the backyard. While studying sculpture at the East Sydney Technical College, Sanders worked for a time with Guy as a decorator before joining David and his new wife Hermia in Paddington to help with their ‘Hermia’ ware.

Sanders returned to Melbourne in 1949. An advertisement in the Argus shows that, by the end of that year, he was selling ceramic wares through Georges Department Store under the name ‘Dorian Sands’.

The Argus (Melbourne), Saturday 10 December 1949, page 5
The Argus (Melbourne), Saturday 10 December 1949, page 5

He worked at the Hoffmann pottery in East Brunswick, with John Barnard Knight in South Yarra. and with Arthur Boyd and John Perceval at the AMB pottery, before setting up his own studio with his first wife Elizabeth in Eltham in 1954.

Eltham at that time was a popular retreat for artists, with a European-style colony at Montsalvat and Clifton Pugh’s Dunmoochin at nearby Cottles Bridge. Heide, home of the art patrons Sunday and John Reed, was just across the river at Bulleen. The Sanders pottery operated in a very similar way to the AMB Pottery, producing a range of commercial wares, with visiting potters, painters and friends, including Arthur and Guy Boyd, helping with the decoration. Barry Humphries opened an exhibition at Eltham and teased him about making a living from ashtrays.

One of six murals he made in 1968 for the Southland Shopping Centre in Cheltenham, Melbourne.

Source: Known potter #44: Tom Sanders


Prototype of the female

This 10 cm dish is an early ceramic work of Tom Sanders (1924-2008).

Émile Zola published his novel Nana in 1880.

Flaubert wrote Zola an effusive letter praising the novel in detail. In summation he wrote: “Nana tourne au mythe, sans cesser d’être réelle”. (Nana turns into myth, without ceasing to be real.)

Nana opens in 1867, the year of the World Fair, when Paris, thronged by a cosmopolitan elite, was a perfect target for Zola’s scathing denunciation of hypocrisy and fin-de-siècle moral corruption.

The fate of Nana, the Helen of Troy of the Second Empire, is now rendered in stylish English.

Prompted by his theories of heredity and environment, Zola set out to show Nana, “the golden fly”, rising out of the underworld to the height of Parisian society. In July 1870, outside her window the crowd is madly cheering “To Berlin! To Berlin!” to greet the start of the Franco Prussian War, which will end in defeat for France and the end of the Second Empire.

Niki de Saint Phalle called a series of her sculptures “Nanas”. She explained that her title evoked the prototype of the female: Eve! Aphrodite! Nana de Zola! Inusable! Increvable! (Eve! Aphrodite! Zola’s Nana! Everlasting! Indestructible!).

Tom Sanders

After serving in the Royal Australian Air Force as an Aircraftsman in WW2, Tom Sanders worked in Guy Boyd’s Sydney pottery as a potter and ceramic decorator. Tom moved back to Melbourne in 1949 and worked at the Hoffmann pottery in East Brunswick and with Arthur Boyd at Murrumbeena before setting up his own pottery “T & E Sanders” at Eltham.

Argus (Melbourne), Tuesday 15 November 1949, page 7
The Argus (Melbourne), Tuesday 15 November 1949, page 7


You Deserve Better

Trust yourself and build a solid connection with your team, who have all the guidance and answers!

Developing your intuition in connection with your team is how you know what to do next, when to do it, and when to let go. It will always lead you down the best and easiest path.

Many clients, who come to us are procrastinating, stuck in overwhelming and multiple fears, constantly looking for the magic “right way”.

The most effective way any expert can make a difference is by helping you develop the trust within yourself, so you can start going up instead of constantly going sideways to the next thing or person. It is a never ending search, when you look for the answers outside of yourself.

Our task is to build unwavering trust within yourself and connect you with your team, who have all the information, guidance and expertise you need to thrive and succeed easily.